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THE
WORKS
OF
WILLIAM                      HOGARTH;
CONTAINING
ONE HUNDRED AND FIFTY-NINE
ENGRAVINGS,
BY MR. COOKE, AND MR. DAVENPORT,
WITH
DESCRIPTIONS,
IN WHICH ARE POINTED OUT
MANY BEAUTIES THAT HAVE HITHERTO ESCAPED NOTICE,
WITH
A COMMENT ON THEIR MORAL TENDENCY,
BY THE
REV. JOHN TRUSLER.
IN TWO VOLUMES.
VOL. II,
A NEW EDITION, REVISED' AND CORRECTED
LONDON:
PRINTED FOR J. SHARPE, KING-STREET, COVENT-GARDEN; R. GRIFFIN AND CO. GLASGOW;
AND SOLD BY ALL BOOKSELLERS IN THE KINGDOM.
1821.




Plummier and Brewis, Printers, Love Lane, Eastcheap.'












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EMBLEMATIC PRINT OF THE SOUTH SEA.
THIS emblematic print on the South Sea, by Hogarth, represents
persons riding on wooden horses, the devil cutting fortune in collops, a
man broken on the wheel, &c.     It was published in 1721, and under it
were the following verses:
" See here the causes why in London
So many men are made and undone;
That arts and honest trading drop,
To swarm about the Devil's shop (A)
Who cuts out (B) Fortune's golden haunches,
Trapping their souls with lots and chances,
Sharing'em from blue garters down
To all blue aprons in the town.
Here all Religions flock together,
Like tame and wild fowl of a feather,
Leaving their strife religious bustle,
Kneel down to play at pitch and hustle (C):
Thus when the shepherds are at play
Their flocks must surely go astray;
The woeful cause that in these times
(E) Honour and Honesty (D) are crimes
That publickly are punished by
(G) Self-Interest and (F) Villainy;
So much for money's magic power,
Guess at the rest, you find out more.
"It may be observed," says Mr. Nichols, " that London always
affords a set of itinerant poets, whose office it is to furnish inscriptions
for satirical engravings. I lately overheard one of these unfortunate sons
of the Muse making a bargain with his employer.   ' Your print,' says he,
x




EMBLEMATIC PRINT OF THE SOUTH SEA.
is a taking one; and why won't you go to the price of a half-crown
' epigram?' From such hireling Bards, I suppose, our artist purchased
not a few of the wretched rhimes under his early performances; unless he
himself be considered as the author of them."








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THE WEIGHING HOUSE.


THIS print was designed by Hogarth, and engraved by Sullivan, to
illustrate a humourous pamphlet which was published early in 1763, by the
Rev. Mr. Clubbe, Rector of Whatfield, and Vicar of Debenham, under the
title of" Physiognomy; being a Sketch of a larger Work upon the same
Plan; wherein the different tempers, passions and manners of men, will
be particularly considered." In return for the compliment paid to the
author by this design, the pamphlet was thus very handsomely inscribed:
"' To WILLIAM HOGARTH, Esq.
"Sir, The author begs leave, with the greatest respect, to put the
following performance into your hands; some parts of which, he flatters
himself, may amuse you, and the dullest, he hopes, will at least lull you to
rest: a favourable circumstance that attends few pamphlets. For, how
many have we in the compass of a year, that, like the clickings of a spider
behind the wainscot, neither keep us quite awake, not let us sleep sound?
"His pretensions, which must also be his apology for taking the
liberty, he derives from the nature of his subject: for (though at an immense
distance in the execution) he fancies he bears some kind of relation to you
in his design; which is, to ridicule those characters that more serious
admonitions cannot amend.
"How happy you are in your portraits offolly, all, but the subjects
of them confess; and your more moral pieces, none but the abandoned
disapprove. We cannot perhaps point to the very man or woman who
have been saved from ruin by them; yet we may fairly conclude, from their
general tendency, many have: for such cautionary exhibitions correct
x2




THE WEIGHING HOUSE.


without the harshness of reproof, and are felt and remembered when rigid
dogmatizings are rejected and forgotten" Segnius irritant animos demissa per aurem,
"Quam quae sunt oculis subjecta fidelibus.""Your Harlot's and Rake's Progress strike the mind with horror
and detestation! Every scene, but the first of Innocence, is an alarming
representation of the fatal consequences of immorality and profuseness!
You very justly give them not a moment of rational and true enjoyment.
And herein you excel the very ingenious author of the Beggar's Opera,
who suffers his profligate crew to be happy too long, and takes them off at
last, without leaving sufficient abhorrence behind among the spectators.
"Your yet more serious pieces are elevated and sublimed into a beauty
of holiness, fit for the sacred places of their destination.
"Your pieces of mere amusement are so natural and striking, that a
man cannot look at them without fancying himself one of the company; he
forgets they are pictures, and rushes into their diversions as in real life.
"In truth, Sir, you have found out the Philosopher's wished-for key to
every man's breast; or you have, by some means or other, found a way to
break open the lock. Zopyrus could hit off (if it was his own sagacity) a
failing or two in a modest Philosopher who was ready to confess before he
was accused; but you have brought to public view the lurking wickedness
of man's heart, intrenched in hardiness and obstinacy, and enveloped in
the sanctimonious veil of studied and deep-covered hypocrisy.
"While you, Sir, live, which the author hopes will be many years, he
thinks to postpone the commencement of his scheme of weighing men's
understandings, passions, &c. for no man would slowly trace out, by a
mechanical apparatus, what you can instantaneously discover by intuition.
"The author begs to be considered as one of your many, many thousand admirers; and to subscribe himself, Sir, your devoted, and most
obedient humble servant."








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MARTIN FOLKES, ESQ.
MARTIN FOLKES was a mathematician and antiquary of much
celebrity in the philosophical annals of this country. He was at the early
age of twenty-four admitted a member of the Royal Society, where he was
greatly distinguished. Two years afterwards he was chosen one of the
council, and was named by Sir Isaac Newton himself as vice-president: he
was afterwards elected president, and held this high office till a short time
before his death, when he resigned it on account of ill-health. In the
philosophical transactions are numerous memoirs of this learned man: his
knowledge in coins, ancient and modern, was very extensive; and the
last work he produced was concerning the English Silver Coin from the
Conquest to his own time. He was president of the Society of Antiquaries
at the time of his death, which happened on the 28th of June, 1754, at the
age of sixty four. A few days before his death he was struck with a fit of
the palsy, and never spoke after this attack.














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HOUSE OF COMMONS.


THIS print of the House of Commons, from an original picture
painted by Hogarth and Sir James Thornhill, in the collection of Earl
Onslow, was engraved by Fogg, Historical Engraver to His Royal Highness Prince Frederick, and published by E. Harding, No. 100, Pall Mall.
It contains, besides many figures in the back ground, the following prominent portraits:
1. Sir Robert Walpole.
2. The Right. Hon. Arthur Onslow.
3. Sidney Godolphin, Father of the House.
4. Sir Joseph Jekyl.
5. Colonel Onslow.
6. Edward Stables, Esq. Clerk of the House of Commons.
7. Sir James Thornhill.
8. Mr. Askew, Clerk Assistant H. C.












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BLACKWELL'S MILITARY FIGURES,
TWO PLATES.
THESE plates, consisting of twenty-six figures, on two large sheets,
were engraved in 1726, for " A Compendium of Military Discipline, as it
is practised by the Honourable the Artillery Company of the City of
London, for the initiating and instructing Officers of the Trained Bands of
the said City, &c. Most humbly dedicated to his Royal Highness George
Prince of Wales, Captain General of the Honourable the Artillery Company.
By John Blackwell, Adjutant and Clerk to the said Company."


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BISHOP HOADLY.


THIS portrait of Dr. Benjamin Hoadly, Bishop of Winchester, was
engraved by Baron, from a portrait, in a grand style, by Hogarth.
Few writers of eminence have been so frequently or so illiberally
traduced as Dr. Hoadly; yet fewer still have had the felicity of " living 'till
"a Nation became his converts," and knowing "' that sons have blushed
"that their fathers had been their foes."  This great Divine was born
November 4, 1676; educated at Catherine Hall, Cambridge; was elected
lecturer of St. Mildred, Poultry, 1701; was rector of St. Peter le Poor in
1704, and of Streatham in 1710; King's Chaplain, February 16, 1715-16;
Bishop of Bangor, March 18 following; translated to Hereford in 1721, to
Salisbury in 1723, and to Winchester in 1734, which he held nearly twentyseven years; 'till on April 17, 1761, at his house at Chelsea, in the same
calm that he had enjoyed amidst all the storms that blew around him, he
died, full of years and honours, beloved and regretted by all good men, in
the eighty-fifth year of his age. His useful labours, which will ever be
esteemed by all lovers of the natural, civil, and religious rights of Englishmen, were collected into three large volumes in folio, 1773, by his son,
Dr. John Hoadly, (then Chancellor of Winchester, and the only surviving
male of a numerous and respectable family); who prefixed to them a short
account of the Bishop's life.
Concerning this portrait of Bishop Hoadly, Dr. John Hoadly, wrote
the following whimsical epistle to the artist.
"To. WILLIAM HOGARTTH.
" Dear Billy,
"You were so kind as to say you would touch up the Doctor, if I
would send him to town. Lo! it is here.-I am at Alresford for a day or
Y2




BISHOP HOADLY.
two, to shear my flock and to feed 'em (money you know is the sinews of
war); and having this morning taken down all my pictures, in order to
have my room painted, I thought I might as well pack up Dr. Benjamin,
and send him packing to London. My love to him, and desire him, when
his wife says he looks charmingly, to drive immediately to Leicester Fields,
(Square I mean, I beg your pardon), and sit an hour or two, or three, in
your Painting Room. Do not set it by, and forget it now,-don't you.
My humble service waits upon Mrs. Hogarth, and all good wishes upon
your honour, and
I am, dear Sir,
Your obliged and affectionate
J. HOADLY."








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THE FIVE ORDERS OF PERIWIGS.


SUCH is the pride of the English, with respect to dress, that unless
they exceed every thing that is common, they look upon it as mean and
vulgar; and such their depraved taste, that gentility and distinction, in
their opinion, consist in singularity, abundance and superfluity: instead of
vying with each other in matters of real excellence, in greatness of disposition and nobility of sentiment, they think little or nothing of it, and
childishly imagine that expence implies worth, and that profusion confers
dignity. At his late Majesty's coronation, when every one who had a right
to walk in procession, strove to make the best appearance possible; the
folds of a robe and the largeness of a wig was more studied than either
ease or becomingness, confounding taste with impropriety, and elegance
with absurdity. To ridicule the folly of the people, Mr. Hogarth published
this print, representing to us the five orders of periwigs, alluding to the
capitals of the five orders in architecture, and measuring them, as he himself calls it, architectonically, giving us to understand the particularity of
some persons, with respect to these ornaments of the head.
The first he describes is the episcopal or parsonic, alluding to the Tuscan
order, as being the most simple and solid, having but few ornaments, and
being the massive. These were such as were worn by the bishops, in whose
faces he has not forgot the general overbearing pride of the dignified clergy.
The second is the old peerian or aldermanic, corresponding to the Doric,
which consists of rather more ornaments than the Tuscan; whose frieze is
divided by triglyphs and metopes.Y  These were worn by the Aldermen of
the City of London; two of whose little-meaning faces are exhibited to
view. That remarkable five tailed periwig on the right, was worn by his
* These orders will be best understood by those who have some knowledge of architecture.




THE FIVE ORDERS OF PERIWIGS.


lordship the Mayor; two of whose tails hung down in half curls before, the
other three behind.
The Lexonic" is the third, answering to that of the Ionic, a kind of
mean proportional between the solid and delicate manner, adorned with
volutes, or spiral curls. These were such as were chiefly worn by the
gentlemen of the law; and lest the beauty of those capitals should chiefly
depend, as usual, on the delicacy of the engraving, our artist has declared,
by words written on the shoulders, beneath one of them, that he etched
them with his own hand.
The next two on the right are of the fourth, called Queerinthian, or
quee-de-renard (that is,fox-tail) agreeable to the Corinthian, the richest and
most delicate, adorned with fillets, and a number of volutes. These, in
front, resemble the-ears- of the fox, or the wings of a pigeon, and were tied
behind with great bunches of ribband. They were worn by the major part
of the nobility
The other two are of the fifth and last order, called the Composite, or
half-natural, correspondent to the Composite, or Roman, so called, because
composed by the people of Rome, out of the Corinthian and Ionic orders, as
this is out of the Queerinthian and Lexonic, decorated with volutes,:&c.
This was worn by some of the nobility, as of higher and nobler institution.
The scale by which the measurement is made, is of Athenian measure,
and proportioned to a block, as we see on the left of this plate. It is thus
divided in nodules,t^ nasos,+ and minutes; every nodule being three nasos,
each naso three minutes.: As, each of the capitals or periwigs are ruled, the
curious examiner may easily prove their exactness by the application of a
pair of dividers. If it should be asked why this exactness? The answer is
obvious. As the degree of understanding is thought by some to be proportioned to the size of the wig, too great a niceness could not be observed.
The bottom part of this print represents the head of six ladies, from
the lowest to the highest, according to the rank of precedence, the minor


* From the Latin, Lex. i. e. Law.


t From noddle.


I From nasus i. e. nose.




THE FIVE ORDERS OF PERIWIGS.
walking first; the faces of the whole are extremely well-known. They
were introduced here to shew the various ways of dressing the female head.
The Triglyph membretta, or drop-curl, was preserved throughout the whole,
as conforming to some established order, the preservation of the uniformity
of which partakes of the follies as well as the dignities of the nation.* On the different parts of these capitals, are letters by way of reference to their names in the margin of this
plate; and at the bottom of this plate is engraved the following advertisement:
"In about seventeen years will be completed in six volumes, folio, price fifteen guineas, the exact measurement
of the periwigs of the antients; taken from the statues, bustos, and basso-relievos of Athens, Palmira, Balbec, and
and Rome. By Modesto, periwig.meter, from Lagado.
" None will be sold but to Subscribers."












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A JUST VIEW OF THE STAGE.
ON this plate is the following inscription:," A Just View of the
British Stage, or three Heads are better than one, Scene Newgate, by
M. D. V-to.@   This print Represents the Rehearsing a new Farce, that
will include ye two famous entertainments Dr. Faustus and Harlequin
Shepherd;t to wCh will be added, Scaramouch Jack Hall the Chimneysweeper's Escape from Newgate through ye Privy, with ye comical Humours
of Ben Johnson's Ghost, concluding wth the Hay Dance, Perform'd in ye
Air, by ye Figures A. B. C. (Wilks, Booth, and Cibber,) assisted by Ropes
from ye Muses. Note, there are no Conjurors concern'd in it, as ye ignorant
imagine. The Bricks, Rubbish, &c. will be real; but the Excrements
upon Jack Hall will be made of Chew'd Gingerbread to prevent Offence.
Vivat Rex. Price six pence."
Such is the inscription on the plate; but we may add, that the ropes
already mentioned are no other than halters, suspended over the heads of
the three Managers; and that labels issuing from their respective mouths
have the following characteristic words. The airy Wilks, who dangles the
effigy of Punch, is made to exclaim-" Poor R-ch! faith I Pity him."
The Laureat Cibber, with Harlequin for his play-fellow, invokes the Muses
painted on the cieling.-" Assist, ye sacred Nine;" while the solemn Booth,
letting down the image of Jack Hall into the forica, is most tragically
blaspheming. —" Ha! this will do, G-d d-me." On a table before these
gentlemen lies a Pamphlet, exhibiting a print of Jack Shepherd, in confinement; and over theforica is suspended a parcel of waste paper, consisting
of leaves torn from " The Way of the World,"-" Hamlet,"-" Macbeth,"
* Mr. Devoto was Scene Painter to Drury Lane, or Lincoln's Inn Fields, and also to Goodman's Fields
Theatre.
Dr. Faustus and Harleuin Shepherd were Pantomimes contrived by Thurmond the Dancing Master, and
acted at Drury Lane in 1724-5.
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A JUST VIEW OF THE STAGE.


and " Julius Caesar." Ben Jonson's Ghost in the mean while is rising
through the stage, and p —g on a Pantomimic Statue tumbled from its base.
A fiddler is also represented hanging by a cord in the air, and performing,
with a scroll before him, that exhibits-M/usic for the What-[perhaps the
What d'ye call it] entertainment. The countenances of Tragedy and Comedy,
on each side of the Stage, are hoodwinked by the bills for " Harlequin
Dr. Faustus" and " Harlequin            Shepherd,"'      &c. &c.       There is also     a
dragon preparing to fly; a dog thrusting his head out of his kennel; a
flask put in motion by machinery, &c.             Fivetur Ingenio is the motto over
the curtain.
In Mr. Walpole's Catalogue the description of this plate is, " Booth,
Wilkss and Gibber, contriving a Pantomime.          A  Satire on Farces.     No Name."
* "This day is published, and sold by the Printer hereof, and the men that carry the news, Price three pence,
(as it is performed at the Theatre Royal in Drury Lane,) Harlequin Shepherd; a Night Scene in Grotesque
Characters, by Mr. John Thurmond, Dancing Master. With new Scenes painted from the real places of action in
Newgate; also a Song occasioned by Blueskin's cutting Jonathan Wild's Throat, sung by Mr. Harper, to the Tune
of Packington's Pound. To which is prefixed an Introduction, giving an account of Shepherd's life, never yet
published; with a curious Frontispiece representing Harlequin Shepherd." Postboy, December 1, 1724.










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THE MYSTERY OF MASONRY.
THIS plate is entitled "The Mystery of Masonry brought to Light
by the Gormagons.,
A. Chin Quaw-Kypo' 1st Emperor of China.
B. The sage Confucius.
C. In Chin present Oecumenical Volgi.
D. The Mandarin Hangchi.
Done from     ye Original.   Painted at Pekin by Mattchauter, Grav'd
by Ho-ge and sold by ye Printsellers of London, Paris and Rome."
Underneath are these Verses:
" From Eastern climes, transplanted to our coasts,
Two oldest Orders that Creation boasts
Here met in miniature, expos'd to view
That by their conduct men may judge their due.
The Gormagons, a venerable race,
Appear distinguish'd with peculiar grace:
What honour! wisdom! truth! and social love!
Sure such an Order had its birth above.
But mark, Freemasons! what a farce is this?
How wild their mystery   what a Bum they kiss!t
Who would not laugh,J who such occasions had?
Who should not weep, to think the world so mad?"
* The Gormagon Society is advertised (by command of the Volgi) October 26, 1728; and afterwards
frequently till 1730.
t On this occasion the print exhibits a trait of humour that wnay have hitherto escaped observation. To
render the part presented for salutation more tempting, it has patches on, such as women wore at the time when
this print was published.
I Who would not laugh, &c. Parody on the concluding couplet of Pope's character of Addison.
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THE MYSTERY OF MASONRY.
This plate is supposed to have been published in about 1742, when
the Procession" of Scald Miserables had been produced to parody the
cavalcade of the Freemasons, who ever afterwards discontinued their annual
procession. Hogarth was always ready to avail himself of any popular
subject that afforded a scope to ridicule.
* The contrivers of the Mock Procession were at that time said to be Paul Whitehead, esq. and his intimate
friend (whose real Christian name was Esquire) Carey, of Pall Mall, Surgeon to Frederick Prince of Wales.  The,
City Officers did not suffer this procession to go through Temple Bar, the common report then -being, that its real
intent was to affront the annual procession of the Freemasons. The Prince was so much offended at this piece of
ridicule, that he immediately removed Carey from the office he held under him. To this may be added, that
Paul Whitehead was intimate with our artist.-Whitehead's house (says Sir John Hawkins in his life of Samuel
Johnson) was open to all his London friends, among whom were Mr. Hogarth, Isaac Ware, the Architect,
George Lambert and Hayman, the Painters, and Mr. Havard the Player. Men who had spent all their lives in and
about Covent Garden, and looked upon it as a school of manners, and an epitome of the world.








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MUSIC INTRODUCED TO APOLLO.
THIS print was designed by Hogarth, as a frontispiece to some Book
of Music, or as a Ticket for a Concert, in 1727. Mr. Nichols makes the
following remark upon it: " I can venture to affirm, on unquestionable
authority, that this print is a mere copy from the Frontispiece to a more
antient Book of Music. The composer's name has escaped my memory."












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BUST OF HOGARTH.


THIS engraving is taken from a valuable bust, in terra cota, which
the unrivalled skill of Mr. Hogarth's friend Roubilliac had modelled from
the life. It was sold amongst the effects of Mr. Hogarth's widow, at her
house in Leicester Fields, and came into the possession of Mr. Samuel
Ireland, at the death of Mr. John Hunter, who had purchased it at her
sale. They who are conversant with the specimens of this art, will immediately recognize the excellence of this effort of Roubilliac's hand. There
is an expression in the countenance which conveys a most infallible intimation of its prominent and distinguished character; and in which it is
impossible not to trace almost every feature in the mind of the person whom
it represents.  It requires but little penetration, to discover a sort of
satyrical conformation in the whole of the face. It exhibits a more than
ordinary portion of sagacity; and a species of sharp and quick-sighted
penetration, as it were in the very act of exploring those vices, and hunting
out those follies, which in so many fanciful combinations were the perpetual
objects of his researches.
This great effort of genius however met with a very slender compensation. The whole amount of the recompence received by the artist, being
no more than fifteen guineas.








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THE HARLOT'S PROGRESS.


PLATE I.
IN this age, when wickedness seeks to entrap the unwary; and man,
that artful deceiver, racks his invention for wiles to delude the innocent,
and to rob them of their virtue; it is more particularly necessary to warn
the rising generation of their impending danger, and to lay before the female
world the perils to which it is exposed, by opening to their view a sight of
that 'wretchedness that will inevitably be the consequence of their misconduct; and by a timely admonition, to prevent, if possible, the irrevocable
misfortunes attendant on a life of prostitution, brought on, perhaps, in an
unguarded moment. This was the design of Hogarth in the History of the
Harlot before us, in the prosecution of which he has minutely pictured out
the most material scenes of her life, from the time of her fall from virtue,
to the hour of her death; a history of such interesting circumstances, as
must certainly give the unthinking maid a sense of her danger, and alarm
her lest she also become a prey to the wiles of the seducer.
The first scene of this domestic tragedy is laid at the Bull Inn, in
Wood-Street, Cheapside: the heroine of the piece, about sixteen years of
age, is supposed to be just alighted from the York waggon, on its arrival
in the inn yard, accompanied by her father on horseback, in search of
better fortune. That this was her father's view, is evident from the recommendation, whose direction he is reading. His extreme necessity is plainly
indicated by the appearance both of him and his horse, a sorry, brokenknee'd, and foundered animal, who is eagerly catching at a mouthful of
straw, in which some earthen vessels are packed; and so full is his master
of the business he is upon, as to pay no attention to the damage it occasions.
These prints were published in the time of the notorious Colonel
Chartres, a man of fortune, which he appropriated to that worst of uses,
the accomplishing the ruin of virgin innocence, in order to gratify his evil
A a




THE HARLOT'S PROGRESS.


inclinations. This wretch, a proper subject for the story, is here exhibited
as looking from an ale-house door, in company with a pander, who is
flattering his reigning vice, considering this artless maid already as his prey,
while his vile procuress is endeavouring to ensnare her unsuspecting innocence. She is here offering to take her as her servant, and she, amused
and dazzled with the artful tale, readily embraces the offer, and falls a victim
to her vile betrayer.
We may now imagine her in the house of this hag, not treated as a
servant, but seemingly respected as a friend; that being generally the first
step these designing wretches take in order to gain favour, and make the
object of their villany in love with their situation: she is now dressed in the
gayest attire; the pincushion and scissars, those implements of housewifery
and diligence, that formerly hung by her side, are changed to the striking
watch and glittering etwee, the sordid pay and badge of infamy: her face,
by the disgustful ornament of paint and patches, loses at once its original
innocence and simplicity; she is now told that beauty has been the making of
thousands, that she looks charming as an angel, and was born to be a lady;
filled with such idle notions, she is introduced to this noted man of fashion,
and though his appearance has nothing in it engaging, a shew of gold and
promises of marriage are not easily withstood: thus dazzled with imaginary
greatness, and wanting the pious admonitions of her father, the poor
unthinking maid gives herself up to the embraces of her betrayer, and
plunges herself headlong into irretrievable wretchedness. From this instant
she finds herself deceived, sees through the artifice of her pretended friend,
who now treats her no otherwise than as a dependant; brings her into
company with different men, makes her acquainted with her future way of
life, and gives her to understand that she must either pursue her evil course
or starve. The poor girl, who yet is not entirely abandoned, blushes at
the impiety of her instructress, and gladly would now return to her poor
but honest parents, and drudge in the lowest servitude, had not shame and
remorse of conscience made her despair of a reception at home; and the
want of a friend told her that the other was impracticable: led then,
unthinkingly, into this dreadful situation, and threatened, on refusal, with
imprisonment, by her wicked mistress, she reluctantly submits to her horrid
proposal, and falls into that course of life she knew not how to avoid.




_




THE HARLOT'S PROGRESS.


PLATE II.
ENTERED into the path of infamy, the next scene exhibits our young
heroine the mistress of a rich Jew, living in the midst of splendour and
profusion: having quitted her innocence with her modesty of attire, she
now keeps up the spirit of the character she professes, in giving way to
extravagance and inconstancy; the first being evident from the monkey's
being suffered to drag about her head dress, and the latter from the general
tenor of the piece. Our author has particularized the Jew, that people
being generally rich, and commonly duped in matters of love. He is
represented as having arrived early in the morning, to breakfast with his
mistress, before the departure of his rival; for notwithstanding these women
are indulged in every thing they can wish, they seem determined to gratify
their inclinations, at the expence of their future welfare; having once bid
adieu to virtue, neither honour nor gratitude can afterwards stop them in
their career of vice By the Scripture-pieces that ornament her room, we
learn that so seared is the conscience of the sinner, as not to be awakened
by any distant admonition; nay more, they gloss over a foul and corrupt
life with the colour of religion. The unexpected visit of the Jew gives a
general alarm, and instantly calls forth the subtile invention both of her
and her maid, in order to devise some means of her spark's escape; but as
an intriguing woman is seldom at a loss in this respect, she readily effects
that, by quarrelling with her keeper, and in a pretended passion overturns
the table; the clattering noise of which, and the surprise it occasions, added
to the scalding his leg, so engages his attention, as to give the other an
opportunity of escaping unnoticed.
Though this scheme answered her present purpose, yet by the continuance of such practices, she is at last discovered, either through her own
indiscretion, or the treachery of her servants; for the wretches that enter
such employ, are no longer true to their trust, than while they are partaking
of the extravagance of their mistresses. This fatal discovery of inconstancy
puts a new face on things: she is instantly discarded by the Jew, and left
to begin the world a-new, which she determines to do by taking a decentAa 2




THE HARLOT'S PROGRESS.
looking lodging, and welcoming every comer. For a short time matters
are imagined to go on well, that is, she is supposed as yet to know no want,
at least while she is possessed of any thing of value, the plunder of her
former grandeur; for when such persons are discarded, they are generally
stript of every thing of worth. On these she lives a-while, parting with
them one after another, 'till at. last she is reduced to extreme distress: for
these women are strangers to economy, and heedlessly spend even the last
shilling, though it is totally uncertain when they shall be mistress of another.




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THE HARLOT'S PROGRESS.


PLATE III.
OBSERVE here the child of misfortune fallen from her high estate.
Every valuable she once possessed is now gone; her silver tea-kettle, converted into a tin pot; and her splendid toilette, once decorated with costly
boxes, changed into an old leaf-table, covered with the filthy equipage of
her night's revel, and ornamented with a piece of broken looking-glass;
her magnificent apartment in a reputable neighbourhood, is now dwindled
into a beggarly room in the purlieus of Drury, as is plain from the inscription on the pewter pots; and she that once breakfasted in state, is now
doomed to make the best of the sad reverse. There was a time when none
but the best and most costly wines could please her; but she is now obliged
to cheer her spirits, or banish reflection, with a miserable regale of gin and
beer. Having nothing valuable of her own, she now commences a dishonest
career, and sends out a watch to pawn, which, perhaps, she had stolen
from her last gallant. Her depravity is further evident from the wig box
on the tester of the bed, which we are told by the name outside, formerly
belonged to one James Dalton, a notorious street-robber, afterwards hanged;
a sufficient proof what kind of company she now keeps. It is not beggary
only that is the lot of these unhappy wretches, but disease also lends its
baneful influence to heighten their misery, as is intimated by the phials, &c.
in the window. The person of our heroine is also in unison with the whole.
Her laced head-dress, and the tawdry cloak hanging over the chair, may
be considered as necessaries of her profession,-serving to conceal a loathsome body, and to attract the eyes of unwary youth. For though her
countenance still exhibits a few traces of that beauty which in the first print
attracted our notice, it is bloated and marked with disease; indeed disorder
and indecency characterise her throughout.
Mr. Hogarth has here taken an opportunity of shewing us the great
degeneracy of the age in matters of religion, by laying on the table a piece
of butter wrapt up in the title-page of a Pastoral Letter, which a great
prelate about that time addressed to his diocese.  Indeed every object in
this wretched receptacle, presents a dreary and comfortless appearance.




THE HARLOT'S PROGRESS.
There are many other little objects in this plate, met with in the
chamber of the prostitute, that sufficiently explain themselves; we shall
therefore only direct the attention to the magistrate entering her room, in
order to convey her to the house of correction.
Imagine her then, with her worthless servant, in opposition to her cries
and entreaties, dragged from her wretched abode and hurried through the
streets to Bridewell, amidst the insults of a jeering populace; committed
there to hard labour, in hopes of their reformation.








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THE HARLOT'S PROGRESS.


PLATE IV.
WE here then behold our wretched female lodged in company with
pick-pockets, sharpers, and others of her own stamp, of all ranks and ages,
reduced to the miserable alternative of beating hemp, or receiving the
correction of the keeper; exposed to the derision of all around, for even
her own servant, who seems well acquainted with the place, cannot refrain
from insulting her, though her stockings, which she is tying up, together
with her shoes, were presents from her mistress, and ought to have reminded
her of the gratitude she owed her. In this horrid receptacle various kinds
of punishment are inflicted, according to the degree of obstinacy in the
offenders: some are obliged to drag a heavy clog locked to their legs;
some are stapled to the ground; while others are hung for an hour by the
wrists, or fastened to a post and whipped; but all are made to labour hard,
being subject to the correction of a savage task-master, who reaps the
profits of their labour.
To shew that neither the dread nor endurance of the severest punishment will deter from the perpetration of crimes,.a one-eyed female, close
to the keeper, is picking a pocket. The torn card may probably be dropped
by the well-dressed gamester, who has exchanged the dice-box for the
mallet, and whose laced hat is hung up as a companion trophy to the hoop
petticoat.
One of the girls appears scarcely in her teens. To the disgrace of our
police, these unfortunate little Wanderers are still suffered to take their
nocturnal rambles in the most public streets of the metropolis. What heart
so void of sensibility as not to heave a pitying sigh at their deplorable
situation? Vice is not confined to colour, for a black woman is ludicrously
exhibited as suffering the penalty of those frailties which are imagined
peculiar to the fair.
In this situation, however, we are not to imagine our heroine without
reflection; what then was more natural than to think of the many anxious




THE HARLOT'S PROGRESS.
moments she had given her tender and affectionate parents, and, no doubt,
to call to mind her former ease and happiness?-Such considerations heighten
her distress, and give greater acuteness to her wretchedness.  Perhaps
now she looks inwardly, for the first time, upon her late vicious course of
life; reflects with horror on the odious scenes she has passed through, and
in some measure detests her evil course, and resolves upon a change. Full
of this pious resolution, her time of confinement expires, and she is once
more at large;-at large, it is true, but without a friend, without a penny!What step then shall she take, or whither shall she fly? In this sad dilemna
she could find no other resource than that of returning to her former vicious
course; and as habit is second nature, she wanted but little inducement.
On then she goes, in her usual depravity, without reserve, until she sinks
under disease, and finally falls a martyr to her vicious mode of life.










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THE HARLOT'S PROGRESS.


PLATE V.
RELEASED from confinement, we now view her expiring in all the
extremity of penury and wretchedness. What must have been her thoughts
at this awful moment? At this distressful hour, no doubt, her manifold sins
stood up as her accusers, and as the vital spark took its flight, she felt she
could only, with humble resignation, rely on the infinite mercies of that
judge, whose authority she had too long set at nought. The two quacks,
whose injudicious treatment had probably accelerated her end, are absolutely quarrelling whose medicine was the best, and over-turn the table,
without paying the least attention to their expiring patient. A manifest
token of the self-sufficiency of these wretches, who are ever ready to prey
upon the credulity of the poor and ignorant. That this inattention to any
but ourselves is too general among all ranks of people, is shewn by the
nurse's rifling her mistress's trunk for plunder, ere the breath has well left
her body, to the total neglect of those necessary and friendly offices we are
bound to do for one another; and so occupied are her thoughts on what
she is upon, as to be perfectly absent to what passes in the room. The
only one properly engaged, is the child, (the innocent fruit of her crimes)
busied in turning the meat that is roasting at the fire.
In this pitiable situation, without a friend to close her dying eyes, or
soften her sufferings by a tributary tear; forlorn! destitute! and deserted!
the heroine of this eventful history expires; her premature death brought
on by a licentious life, seven years of which had been devoted to debauchery
and dissipation, and attended by consequent infamy, misery, and disease.
The whole story affords a valuable lesson to the young and inexperienced,
and proves this great, this important truth, that a deviation from virtue, is
a departure from happiness.
Mr. Hogarth seems here to have finished his plan, having led us
through the most distressful scenes attendant on a life of prostitution; and
admirably executed his design, which was to give so odious a representation
of it, as might warn others from falling into the like snares. Thus, we may
Bb




THE HARLOT'S PROGRESS.
say, is the tragedy completed: with respect to the following plate, it may
be considered-as the farce, of which death is oftener the occasion than the
subject. Our author took this opportunity of indulging his humour, in the
general ridicule of a funeral ceremonial; in which there is, frequently,
more of hypocrisy than sincerity.








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THE HARLOT'S PROGRESS.


PLATE VI.
THE adventures of our heroine being at an end, it is probable, that
in the print before us, our artist designed to convey some important moral;
at the same time that he has taken an opportunity of indulging his humour,
though at the expence of his consistency; for we may notice that the room
presents many things which are never met with at the funerals of the poor;
such as the escutcheon, (viz. the arms of her profession, three spigots and
fossets,) the giving of gloves and mourning rings, &c. This however shews
the folly of mankind in making expensive funerals, particularly of those
who can ill afford it; but such is the general pride, we are always aiming
at something:above our sphere; the poor apeing the vanities of the rich.
We dress up the dead for public view, as on a bridal day, and take care to
adorn our persons with all the outward formalities of grief, as if our future
good fortune depended on the elegant appearance we made. That this was
the painter's meaning, is evident from one of the women viewing the body,
and another tricking herself out before the glass. The company here assembled, are supposed to be of our heroine's profession; and as it has been
remarked that none are more saintly than " a w-e at a christening," so it
may be here observed that none seem more distressed at a funeral. In the
corner sits an old procuress, howling for the dead, with a bottle of nantz by
her side. Hence we are taught, in the first place, that these wretches have
so long made hypocrisy their trade, as to have tears at will; for so steeled
are their hearts to any degree of tenderness, that they cannot be presumed
to proceed from sorrow: and in the second, that amidst all their seeming
concern, they miss no opportunity of drinking, under a pretence of recruiting
their wasting spirits. One would naturally imagine that at this silent scene
of mortality, the voice of conscience would be heard; but on the contrary
we see the heart obstinately shut to its loudest calls, and a propensity to
stifling the first spiritual emotions of reflective thought.-View then the
undertaker, unappalled by the ghastly corpse, fixing his lustful eye upon
the woman, whose glove he is pulling on, and she unaffected at the awful
solemnity, artfully robbing him of his handkerchief. Near the door are two
mourners, in all the pride of affliction, one of whom is turning up her eyes
Bb2




THE HARLOT'S PROGRESS.


and pouring forth hypocritical ejaculations, which she does not feel. The
like inattention to the solemnity of the meeting is visible even in the minister,
who, though in years, is so particularly employed with his agreeable neighbour, (who has in her hand a sprig of rosemary, formerly distributed on
these occasions,) as through absence of mind, to spill his wine upon his
handkerchief. The boy winding up his top keeps up the spirit of the piece,
and adds not a little to its humour. Thus we see the farce of life is carried
on, even to the latest hour; and we continue our follies, without intermission, to the grave.
From this eventful story, let us warn our female reader of the lurking
danger that threatens her: and as there is no greater Christian virtue than
chastity, more pleasing to God, or more agreeable to man, it is the interest,
as well as duty, of every young lady to be particularly attentive to it. Men,
however they may detest the loss of virtue in women, are nevertheless
continually laying snares to rob them of it, whilst the unsuspecting female,
unprepared for their attacks, too often fall their victim. Had our heroine
been mindful of this, she would, in all probability, have avoided those
dreadful rocks on which she split: innocently listening to the deceitful
tongue of her betrayer, she made a shipwreck of that virtue, that would
otherwise have carried her through life with honour.










MARRIAGE A LA MODE.






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THE MARRIAGE-A-LA-MODE.


PLATE I.
ALTHOUGH there is no act in our life of greater importance to us,
nor one on which our happiness depends, more than that of marriage; yet
so rash and presumptive are we, that we pay little regard to it, otherwise than
as it suits or clashes with our interest.  In order, however, to create ip us
an abhorrence of lucrative alliances, when formed under that consideration
only, and to shew the folly of seeking matrimonial connections chiefly with
pecuniary views, Mr. Hogarth has in the following scenes exhibited, in the
most striking colours, the fatal end of what he calls a Marriage-a-la-mode;
which being so general and fashionable a thing among us, the term is too
appropriate to savour of the least impropriety: and because this folly is
more conspicuous among the great, he has taken his subject from high life,
and has drawn it with the pencil of truth.
We are then to suppose that an immensely rich Alderman of the City
of London, whose wealth was acquired by trade, had for some time, in order
to ennoble his family, been desirous of a matrimonial alliance with the
family of some man of fashion, who with a view of recruiting his wasted
fortune, might readily accept his proposals. We may easily imagine that
it was not long before he met with the wished-for opportunity, there being.many of the'English nobility with encumbered estates, always prepared to
embrace such an offer. View then the wealthy Cit, all necessary preliminaries being adjusted, at the house of a British Earl, signing and sealing
the marriage settlement, and paying his daughter's stipulated fortune. See
him with all the appearance of a person of property, accustomed to the tale
of money, casting his eye on what his clerk, an old faithful servant, has just
counted down. On the other hand behold the Peer, the father of the bridegroom, full of his titles and nobility, (which he has just traced on his




THE MARRIAGE-A-LA-MODE.


genealogical tree from William the Conqueror) in a position which indicates
an egotism swelled with pride.  Nay, so fond is he of rank, that every
thing about him wears the mark of distinction; even his crutches, the
mortifying monitors of his infirmities, are ornamented with coronets. He
is represented as laid up with the gout; that disorder, in particular, being
the usual consequence of irregular living, to which men of quality too often
addict themselves. Neither is an irregular, debauched, life the parent of one
disorder only, but of a complication. This is intimated by the mark of the
evil on the son's neck, covered with a patch, which we are to suppose inherent in his blood. Behind, on a settee, are the bride and bridegroom, in
positions of dislike; he taking of snuff and looking in the glass, she playing
with her ring, seeming to listen with indifference to the soft things that the
young barrister is saying to her, whose. attendance here was to draw up the
marriage articles. The other counsellor (a serjeant) is examining the plan
of my Lord's new building, and viewing with admiration the beauty of the
edifice, on which he is supposed to have spent the whole of his fortune, not
even reserving sufficient to complete it. The number of servants that are
seen in the court yard without, serve also to denote the destructive pride
that surrounds this man of quality, and hastens his impending ruin.
Two dogs in a corner, coupled together against their inclinations, are
good emblems of the ceremony that is about to take place; and the
paintings that decorate the magnificent apartment, while they bespeak the
puerile taste of the owner, are exhibited by our artist in this print, in
ridicule of such barbarous delineations.








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THE MARRIAGE-A-LA-MODE.


PLATE II.
THAT indifference which precedes a marriage of this sort, seldom
fails to follow it. When we unite ourselves by contract, we would generally
live separate by inclination. Tired of one another, nothing is more common
than for the husband to grow sick of home, to stay out until a late hour in
the evening, and for the wife to wear away the tedious hours by entertainments, cards, and other acts of dissipation.
This plate then, before us, represents a saloon in this young nobleman's
house, not long after the breaking up of one of these card parties. The
clock shews us it is noon. We are to suppose then by the candles being
still burning, that the day had been shut out, and converted into night; a
circumstance not a little characteristic of the irregularity and disorder that
reign within the house; and that after an hour or two's sleep, madam is
just risen to breakfast; whose rising -has occasioned that of the family in
general. This is intimated by one of the servants in the back ground of
this plate, who we are to understand, though scarce awake, has hurried on
his cloaths, in order to set the house in some measure to rights. By the
treatise of Ho yle upon the floor,- we are taught the idle study of people of
distinction, to whom books in general are disgusting, unless they tend to
dissipation, or serve to instruct them in their favourite amusements. With
respect to the attitudes of the two principal figures, the fineness of the
thought, and the particular exactness of the expressions, they mustbe allowed
to be extremely beautiful. They are at the same time well introduced, as
from the indifference that gives rise to them, springs the destruction of this
unhappy family. On the one hand we are to suppose the lady actuated by
soft desire, totally neglected by her husband; on the other, by way of
contrast, that the husband is just returned from the apartments of some
woman, fatigued, exhausted, and satiated. And as pleasures of this sort
are seldom without interruption, we are shewn by the female cap in his
pocket, and his broken sword, that he has been engaged in some riot or
uproar. An old faithful steward, who has a regard for the family, seems
to have taken this opportunity (not being able to find a better) to settle his




THE MARRIAGE-A-LA-MODE.


accounts; but the general disorder of the family, and the indisposition of
his master atd mistress, render it impossible. See him then returning in
an attitude of concern, dreading the approaching ruin of them both. As
a satire on the extravagance of the nobility, Mr. Hogarth has humourously
put into this man's hands a number of unpaid bills, and placed upon the
file only one receipt; intimating the general bad pay of people of quality.
By the book on regeneration in his pocket, we are given to understand that
he is tainted with enthusiasm; and though his heart is inclined to good,
that he is an unhappy follower of those men whose reigning principle is
hypocrisy, and who will. publicly shudder for the misfortunes of those,
at whose downfall they secretly rejoice. There is one other thing which
we cannot pass over in silence, and that is an immodest painting in the
further part of the room, with a curtain drawn before it; calculated to
inflame a wanton imagination, though designedly concealed from public
view. A manifest token of the depraved taste of its owner, and a sign of
the completion of his vitiated character.
Led then from one act of dissipation to another, the hero of this piece
meets his destruction in hunting after pleasure. Little does he imagine
what misery awaits him, and what dreadful consequences will be the result
of his proceedings; but -determined to embrace the trifling happiness in
view, he runs heedlessly on in his dissipated career, until he seals his
unhappy fate.








RIeAGIE A' LA MODIE.
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THE MARRIAGE-A-LA-MODE.


PLATE III.
DISEASE is universally the attendant of debauchery. Our author
has therefore introduced us to the hero of this piece, at the house of an
empiric, where he would have had no occasion to be, had it not been for
his lewd course of life. He has brought with him two females, with whom
he has been acquainted, that the doctor might determine to which of the
two he might attribute his disorder. His being prejudiced in favour of the
girl, occasions a quarrel between him and the woman, which proceeds to
great height, even to that of blows. The doctor, unconcerned at this
dispute, and solicitous for little but himself, increases the noise, by thundering to the mute-struck girl, "Vat?-you won't take your pe-els?", angry
to think his medicines are so little regarded. The contrast between this
girl and the woman is exceedingly beautiful: the age, the timidity, the softness of the one; the rage, the fury, and the harshness of the other, are strongly
characteristic of the simplicity that dwells in those who are strangers to
vice, and the natural ferocity inherent in such as are long habituated to it.
Though both the quack and his apartments are objects rather foreign to the
purpose, yet Mr. Hogarth has taken this opportunity of ridiculing the folly
of such men, as enter upon a profession with which they are wholly unacquainted; and, by representing this empiric, as a Frenchman, censures the
government of this kingdom, for tolerating a foreigner to exercise an art here
which he would not be permitted to do in his own country. Although' he
was formerly a barber, he is now, if we may judge by the appearance of his
his house, not only a surgeon, but a naturalist, chemist, mechanic, physician,
and apothecary; and, to complete the character, he is supposed to have
invented two machines, extremely complicate, for the most simple operations; one to set a dislocated limb, the other, to uncork a bottle. On the
first of the two lies a folio treatise on the nature of these instruments, in
French, whose title page is, "An Explanation of the Two Grand Machines,
one for Re-setting the Collar-Bone, the other for Drawing a Cork: invented
by Monsieur De la Pillule: inspected and approved by the Royal Academy
at Paris." An admirable rub on the ignorance of the French, and on the
superficial knowledge of mechanic heads in general, who fondly imagine
c c




THE MARRIAGE-A-LA-MODE.
they have performed wonders, if they find themselves able to bring about
even ordinary things by extraordinary means. In the glass case are three
figures, viz. a skeleton of a man that had been executed, intimated by the
gallows above, a man in muscles, and a plaister head, on which hangs the
doctor's wig. By the disposition of these figures, which is that of the bones,
supposed to be cautioning the flesh not to be advised by that head of selfconsequence beside him, lest, in a little time, he should be reduced to bones
only, like himself; we are taught the folly of applying to quacks for a cure,
when we find ourselves disordered, they being of little service, except that
of removing a life-sick patient from a tormenting and a troublesome world.








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THE MARRIAGE-A-LA-MODE.


PLATE IV.
THE old nobleman is now supposed to be dead, and the young Lord
in the entire possession of his estate. In consequence of this, he launches
out into every species of fashionable extravagance and folly, has his levees,
his routs, &c. and is entirely a dupe to the foibles of his dissipated wife.
See, then, in this fourth plate, a groupe of figures highly amusing.
We shall begin with the principal, that of madam, at her toilette, under the
hands of her French valet-de-chambre. By the china figures on the floor,
which her black boy has brought home, she- is supposed to be just returned
from one of those auctions or sales of old goods, at which places women of
quality are generally duped. 'Tis pride only, and a determination of
rivalling their acquaintance in expence that cause them to buy, or they
would not purchase, as they often do, at an exorbitant price, an antique
jar, or an ugly pagod, which they have not the least occasion for, and which
have neither beauty nor value to recommend them. Let any one cast an eye
on the various lots, and observe the precious acquisition our heroine has
made, which, by the catalogue on the floor, seems to have been once the
property of Sir Timothy Baby-house, and we are persuaded he must think
the same. Among these is a porcelaine figure of Actaeon, to whose horns
the boy, with a leer upon his lady, is archly pointing, as emblematical of
of the ridiculous appearance of his master. It has ever been foolishly considered, among the first rank of people, as a mark of grandeur, to have
frequently, at their houses, one of those melodious animals, which are
brought from Italy at a vast expence: there is such a one here singing, and
is particularly well delineated for one of those unfortunate wretches, that
too often fall a victim to the musical madness of the Italians. His diamond
buckles, rings, solitaire, and ear-rings, tell us the many valuable presents
the ladies have made him, who are generally fond of any thing they think
uncommon. As a proof of this, see Lady Charlotte almost fainting with
the ravishing sound of this melodious singer, and the mellow notes of the
warbling flute. Not so the country gentleman on her left, who, having no
relish for these exalted pleasures, is fallen fast asleep. Next him sits one,
cc2




THE MARRIAGE-A-LA-MODE.


whoa by the fan upon his wrist, we are told, is more a woman than a man,
a disciple of Anacreon's, a very heretic in love. This man pretends to be
moved at what he hears, and puts us in mind of those effeminate creatures,
who affect a delicacy they are perfect strangers to, and draw contempt on
themselves the very instant they would wish to be most admired. On the
left of him sits another unaccountable, with his hair in buckle; one of those
personages that pass their whole lives in endeavouring to please, without
success: a very petit-maitre, who constantly degrades the man to support
the coxcomb. On the opposite side of the chamber is that young barrister,
otherwise engaged, (whom we saw, in the first plate, talking to the bride)
lying on a sopha; he seems, by his picture hanging in this room, to have
ingratiated himself in the favour of the family; and, by his situation here,
to have profited by the indifference of the husband. He is represented as
offering his mistress a ticket for the masquerade, which she, on her part,
does not hesitate to accept. The figures to which he is pointing in the
skreen, those of a friar and a nun in secret converse, intimate the purposes
of his heart towards her. A number of complimental message cards lie
scattered on the floor, the contents of which are as follow. "Lady
Squander's company is desired at Lady Townly's drum, next Monday."
<" Lady Squander's company is desired at Lady Heatham's drum-major, next
Sunday." "Lady Squander's company is desired at Miss Hairbrain's rout.'
Among these is one from a foreigner, visible from its orthography. "Count
Basset begs to know how lade Squander sleapt last nite." From these
cards we may perceive the idle manner in which people of fashion trifle
away their time, and in what acts of dissipation they waste those hours that
ought to be spent in matters of greater moment.








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THE MARRIAGE-A-LA-MODE.


PLATE V.
THE fatal consequence of going to the masquerade, is here shewn to
perfection. The ticket was accepted to favour an assignation; the assignation took place, and the catastrophe is dire. Happy was our heroine
to find an opportunity of enjoying the company of her spark; happy was
the barrister to take an advantage of the supposed weakness of her husband;
but behold the end of such illicit and unwarrantable proceedings!-.They
are supposed to have retired from the ball to some bagnio, in order to gratify their illicit amours. But what are we to imagine brought the husband
here?-Suspicion, and an eagerness to know the truth. Her indiscreet
behaviour had long given birth to jealousy, and her going to this place of
amusement without him confirmed it. Determined to see the extent of her
misconduct, he secretly follows her from his house to the masquerade, from
the masquerade to the bagnio; rashly gives them an opportunity of undressing, that he might have the satisfaction of discovering them in bed. Had
he shewn himself at their entrance into the house, it might have answered
his purpose equally well, and, in all probability, this scene would have been
prevented; but, instead of this, he goes after them to the chamber, and
thirsting for revenge, unsheaths his sword, bursts open the door, and
attacks his rival, who was also prepared in case of any interruption; a thrust
or two passes between them, and the husband is wounded mortally. The
noise this occasioned brings up the watch and a servant of the house, who
seem thunderstruck at the ghastly spectacle: alarmed at this accident, the
young counsellor secures himself, by escaping from the window in his shirt;
and his mistress, struck by remorse and horror, falls on her knees to her
dying husband, and wringing her hands, with tears in her eyes, and with
fluttering accents, confesses her guilt, imploring his forgiveness. Now,
though too late, begins to work that sorrow, which, had it found its way to
her breast before, might have prevented this dreadful act, and, perhaps,
been the basis of their future happiness; but, on the contrary, she pursued
her vicious inclinations, even to the death of her husband, and was content




THE MARRIAGE-A-LA-MODE.
to seal her misery so she gratified a vicious passion.  Nor was his imprudence less than her's, for his corrupt course of life roused her resentment;
his unfaithfulness to the marriage bed being, as it were, the prelude to her
inconstancy; and, in order to punish it, he meets his own death in seeking
that of his rival's. Thus he fell an untimely sacrifice to his revenge, and a
victim to the wrath of Heaven.








MARRIAGE A LA MODIE..b&M7 e1Z iy~q, -ongm  ff'rst eeBe "  Or   Jur5 if'ly 8o8.




THE MARRIAGE-A-LA-MODE.


PLATE VI.
THOUGH the young barrister fled from the window, it was of no
avail; he reaches the ground 'tis true, but is presently taken by the watch,
and the next day committed to prison, there to bewail his past imprudence,
and settle his accounts with his Creator. Madam is conducted to her
house, and left to repent her past folly and wickedness. On the report of
this melancholy story, the tradesmen of her Lord (who had long foreborn
carrying matters to extremities) become urgent and clamorous in their
demands. She, therefore, not being disposed to settle their accounts in
this situation, makes a friend of her father, throws her affairs into his hands,
leaves her home, and returns to his house, supposed to be somewhere near
London-bridge, for we have a view of it from the' window in its original
state, when covered with houses. We shall pass over the many sad hours
she is presumed to wear away in hateful meditation, and hasten to the scene
before us, a scene of aggravated distress and horror. Left to the dreaded
leisure of her thoughts, she becomes conscious of having been the destruction
of her husband, of her lover, (for by the dying speech before her, we are told
he has been tried and executed) her reputation, and her happiness; and
foolishly thinks she has no other refuge from the terrors of her mind than
to destroy herself. Unhappy situation, to have least reason and resolution
when we stand in need of them! Little does she reflect upon the consequences of so presumptive an act, but hopes only to ease the anguish of
her mind, by depriving herself of the power of thinking. In this disordered
state she artfully sends a servant for a dose of laudanum, swallows it, and
puts an end to her now miserable existence. Behold her then, in the last
moments of her life, seized with death, as she and her father were sitting
down to dinner. A physician and apothecary are immediately sent for,
but all their assistance is vain, it being now too late. The first is retiring
in all the pride of physical consequence, and the latter severely reprimanding
the servant for fetching the deadly potion. The starched tight-dressed
figure of the one, and the trembling relaxed state of the other, added to the
appearance of his coat, which seems to have been an old one of his master's,
afford an agreeable contrast, and cannot fail exciting a smile, even in this




THE MARRIAGE-A-LA-MODE.


scene of distress, which is not a little heightened by the old family servant
in tears, bringing the poor little infant, the diseased and rickety off-spring
of debauched parents, to take its last farewell of its expiring mother. The
great niggardliness that prevails in this house is visible from the ancient
furniture of the room, the beggarly dinner served up upon the table, the
emaciated figure of the fleshless dog, and the covetous disposition of its
master, (who seems more attentive to the least acquisition than to the most
tragical event that can happen) manifested by his drawing the ring from his
daughter's finger. To conclude, we must remark that the pictures in this
plate are on subjects far different from what we have seen in the foregoing,
and are expressive of that want of taste, which is generally conspicuous in
those characters, who devote their life to the accumulation of wealth. They
are also introduced here, as a contrast to those we saw in the possession of
the Earl, The magnificence of the one and the meanness of the other
equally claim attention, with the strange subjects they represent.  However, in general, 'tis neither analogy, taste, or decency that is consulted in
the choice of pictures, but the broker, of whom we buy them; who, on his
part, recommends those by which he gets the most, without paying much
regard either to the painter or painting.










hfogar-   pmxt.


STROJLJLING PLAYERS.




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llab shed by Lonqmam, ffrs.et, s, &: Oe,fY'zotz s8od.


Pru1tz




THE COMPANY OF STROLLERS.


IF variety is any ways entertaining, or if the life of a painting consists
in its diversity of figures, the piece before us claims our particular attention;
none does more abound with contrasted subjects, nor can the vis comica be
more conspicuous: every group is crowded with humour, every subject
with matter of laughter. Here we see confusion mixed with uniformity,
and inconsistency united with propriety; royalty let down by the ensigns of
beggary, and beggary set off by the regalia of royalty. Most people are,
indeed, acquainted with stage exhibitions, but few have any idea of their
apparatus. Mr. Hogarth, therefore, desirous of communicating that
pleasure he frequently enjoyed himself, and of profiting by the design, published this plate in the year 1738, when the attention of the public was
called to this class of people, it being just before the act against strolling
players took place.  Altho' this salutary law put a stop for a time to
scenes of this sort, yet new companies, phoenix-like, rose with vigour from
the dying embers of former ones; and such companies continue to the
present day.
The place from whence this scene is taken is supposed to be a barn,
belonging to an inn in some country town, intimated by the corn and flail
aloft, the hen and chickens at roost (though here) upon a wave, and the
eggs upon the bed. The time is evening, the company from the theatres
at London, dressing, and preparing to perform a farce, which, we are told
by the play-bill on the bed, is called The Devil to pay in Heaven, (a very
suitable subject) with entertainments of tumbling and rope dancing. Such,
we are to conceive, is their poverty, that they have but one room for all
purposes; witness the bed, the gridiron, the urinal, the food, and all the stage
apparatus; viz. scenes, flags, paint-pots, pageants, brushes, clouds, waves,
ropes, besoms, drums, trumpets, salt-boxes, and other musical instruments,
crowns, mitres, helmets, targets, dark-lanthorns, cushions, perriwigs, feathers,
hampers of jewels, and contrivances for conjuring, thunder, lightning,
Dd




THE COMPANY OF STROLLERS.


dragons, daggers, poison, candles, and clay. The characters they are
dressing for in this farce, are Jupiter, Juno, Diana, Flora, Night, Syren,
Aurora, Eagle, and Cupid; with devils, ghosts, and attendants. Jupiter,
we see, is holding Cupid's bow, directing the little fellow to reach his
stockings, which were hung to dry upon the clouds. Queen Juno is
rehearsing her part, while the sable goddess Night, represented by a Negro
girl in a starry robe, is mending a hole in her majesty's hose. Diana,
though stripped, is raving in all the high swoln rant of tragedy; while Flora,
at her feet, is attentively pomatuming her hair with a tallow candle, ready
to powder it with flour from a drudging box, heedless of her wicker toilet's
taking fire from a neighbouring flame. On the right of her is Aurora with
her rosy face, ridding the charming intoxicated Syren of some of her close
companions, while she is comforting a female hero, wrapt up with the
tooth-ache, with a glass of spirits, who, greatly unlike the generality of her
sex, is weeping at the thoughts of wearing the breeches, for the smallness
of a strolling company frequently obliges women to play the parts of men,
and men to fill the characters of women; nay, by the monkey's being
habited in the further corner, it is intimated that -the farce they are going
to perform has such a variety of characters, that they are under the
necessity of making the monkey perform the part of an attendant. Beneath this woman's feet is a girl, dressed up by way of Eagle, cramming
a new-born infant with scalding pap. Humourously has our author set
the pannikin upon the act of parliament against strolling players, and that
upon a crown, intimating this company's mortified contempt of that judicious law, and their great abhorrence of this step of the government. At
the back of this plate are two young devils, (their horns just budded) contending for a draught of beer. Behind them is a female tumbler and the
ghost, employed in extracting blood from the tail of a cat, in order to assist
them in some sanguinary representation. The faces of these two women are
finely contrasted; in one we observe age and pleasantry, in the other youth
and distress. But the greatest piece of humour in the whole, is the
agreeable engagement of two of the company in a cloud above, who, though
retired from the eyes of all below, are unguardedly open to the discovery
of a man through the broken roof. Mr. Hogarth, by giving them the
names of Oedipus and Jocasta, would intimate that so lost are these
people to every sense of virtue, that they hold all things in common, and
give a general loose to unbridled passion.








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HENRY FIELDING.


MANY strange stories have been told of the manner in which this
drawing was made, such as the hint being takeanfrom a shade which a lady cut
with scissars;-of Mr. Garrick having put oyz a suit of his old friend's clothes,
and making up his features, and assuming his attitude for the painter to copy, 4c.
4fc. These are trifling tales to please children, and echoed from one to
another, because the multitude love the marvellous.
The simple fact is, that the painter of the Distrest Poet, and the author
of Tom Jones, having talents of a similar texture, lived in habits of strict
intimacy, and Hogarth being told, after his friend's death, that a portrait
was wanted as a frontispiece to his works, sketched this from memory.
The drawing was engraved by Mr. Bashire, and is said, by those who
knew the original, to be a faithful resemblance.
Henry Fielding was born at Sharpham Park, in Somersetshire, near
Glastonbury, April 22, 1707. His father, Edmund Fielding, served in the
wars under the Duke of Marlborough, and arrived at the rank of lieutenant
general at the latter end of George I. or beginning of George II. He was
grandson to an Earl of Denbigh, and nearly related to the Duke of
Kingston, and many other noble families. His mother was the daughter
of Judge Gould, the grandfather of Sir Henry Gould, one of the barons of
the Exchequer.
Henry received the first rudiments of his education from the Rev. Mr.
Oliver, to whom we may judge he was not under very considerable obligations, from the humorous and striking portrait given of him afterwards,
under the name of Parson Trulliber, in Joseph Andrews. From Mr.
Oliver's care he was removed to Eton School, where he had the advantage
of being early known to many of the first people in the kingdom; namely
Lord Lyttleton, Mr. Fox, Mr. Pitt, Sir Charles Hanbury Williams, and the
late Mr. Winnington.
Dd2




HENRY FIELDING.


At this great seminary of education, he gave distinguished proofs of
strong and peculiar powers; and when he left the place, he was said to be
uncommonly versed in the Greek authors, and an early master of the Latin
classics: for both which he retained a strong predilection in all the subsequent periods of his life. Thus accomplished, he went from Eton to
Leyden, and there continued to shew an eager thirst for knowledge, and to
study the civilians with unwearied assiduity for two years; when remittances
failing, he was obliged to return to London, not then quite twenty years
old.
The comedy called Don Quixote in England, was planned at Leyden,
and completed on his return to London; where, from some cause or other,
he was induced to bring it on the stage, before it was properly wrought up;
so that by this first essay he gained no dramatic reputation, nor were his
other productions for the playhouse much more popular; for though he
wrote eight comedies and fifteen farces, they have not generally proved
what are termed stock plays; and yet from several of them, particularly
Pasquin, succeeding and successful writers for the stage, have borrowed
some of their best speeches.
He died at Lisbon, to which place he went for the recovery of his
health, in the year 1754, aged 47.
Of his talents he has left memorials that will never die, while the
English nation retains a taste for genuine and Cervantic humour: his
features posterity would only know by description, had not his friend
Hogarth, to whom he had often promised to sit, made this drawing;-for
singular as it may seem, though this admirable writer lived on intimate terms
with the best artists of the day, no portrait of him ever was painted.




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THE PROPORTIONS OF GARRICK AND QUIN.
THIS print was published by Messrs. Laurie and Whittle, in the year
1797, from the original, then in the possession of Mr. Stevenson, of
Norwich. It was also engraved from the original for the present work, in
1808.



THE PROPORTIONS OF GARRICK AND QUIN.


THIS print was published by Messrs. Laurie
1797, from the original, then in the possession
Norwich. It was also engraved from the original
1808.


and Whittle, in the year
of Mr. Stevenson, of
for the present work, in








CHARACTERS AND CARICATURAS.
THIS print of Characters and Caricaturas, " to shew that Leonardo
da Vinci exaggerated the latter," was the subscription ticket to our artist's
prints of Marriage-a-la-Mode.



CHARACTERS AND CARICATURAS.


THIS


print of Characters and Caricaturas,


" to shew that Leonardo


da Vinci exaggerated the latter,"
prints of Marriage-a-la-Mode.


was the subscription ticket to our artist's








THE FOUR STAGES OF CRUELTY.
PLATE I.
FIRST STAGE OF CRUELTY.
"While various scenes of sportive woe
" The infant race employ;
"And tortur'd victims bleeding shew
"The tyrant in the boy.
"Behold a youth of gentler heart,
" To spare the creature's pain,
"  take, he cries-take all my tart,
"But tears and tart are vain.
"Learn from this fair example, you
"Who savage sports delight,
" How CRUELTY disgusts the view,
"While PITY charms the sight."
THOUGH humanity is the distinguishing characteristic of the British
nation; (we mean that part of it which we call the better sort of people,) yet
the lower class of Britons are not less remarkable for their studied barbarity,
insomuch that foreigners have frequently taken notice of the cruelty of
English pastimes, which we certainly must have derived from the Goths
and Scythians: but one would imagine as the times grew more civilized,
this merciless disposition would have gradually decreased; whereas, on the
contrary, we grow more sanguinary, and indulge our savage inclinations at
the expence of all that is rational, humane, and religious. Does not the
epicure even torture the creature to pamper his voluptuous palate? Are
not lobsters roasted alive, pigs whipped to death, and fowls sewed up,
E e




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THE FOUR STAGES OF CRUELTY.
testimonies of our barbarity and luxury? Nothing is more shocking or horrid,
than the prospect of some of our modern kitchens, covered with blood and
filled with the cries of creatures expiring in tortures. It gives one an image,
says Mr. Addison, of a giant's den, in a romance, bestrewed with the
scattered heads and mangled limbs of those who were slain by his cruelty.
Notwithstanding these things, with some others we shall mention, are matters
deserving the severest censure; yet our author has taken no notice of them,
having confined himself to a representation only of those acts of barbarity
as are become more general among us, and which seem to have been nursed
up in our nature from our very childhood.
In the plate before us we have represented several groups of boys at their
different barbarous diversions. One is throwing at a cock, the universal
Shrovetide amusement; another is tying a bone to a dog's tail, in order to
hurry him through the streets, while he enjoys its pain and terror. A third
is burning out the eyes of a bird, with a red-hot knitting-needle, in order
to make it sing; a barbarous custom, chiefly practised upon bullfinches.
Behind is a number of boys diverting themselves by hanging up two cats
by their tails, to make them fight. Above these, from a window, is one
throwing out a cat, with a pair of blown-up bladders fastened to her sides,
designed to prolong her fall; and on the left, in front, is a merciless wretch
hallooing and encouraging a dog to worry also one of the tabby kind. But
the principal group in this plate is in the centre. We here see a boy
piercing a dog with an arrow, a deep-studied piece of barbarity. This
figure is the hero of this set of prints: he is represented, by the badge upon
his arm, as belonging to St. Giles's Charity School.  We have here a
beautiful contrast in the struggle between cruelty and compassion; the
young gentleman returning from school, with tears in his eyes, pleads in
behalf of the tortured animal, and even offers his tart for its redemption;
which the hard-hearted wretch refuses, cruelty being his chief delight.
Hence we learn the great benefit and necessity of education, without which,
we are little better than savages; it being that which softens a rugged
disposition, civilizes mankind, and makes men useful members of society.




THE FOUR STAGES OF CRUELTY.


PLATE II.
SECOND STAGE OF CRUELTY.
--
"The generous steed in hoary age,
" Subdued by labour lies,
"And mourns a cruel master's rage,
" While nature strength denies.
"The tender lamb, o'er-drove and faint,
' Amidst expiring throes,
"Bleats forth its innocent complaint,
" And dies beneath the blows.
"Inhuman wretch! Say, whence proceeds
U" This coward cruelty?
"What interest springs from barbarous deeds?
"What joy from misery!"
THE spirit of inhumanity which we observed in the preceding plate
growing up in youth, is in this ripened by manhood; here we see Tom Nero,
the hero of our piece, become a hackney-coachman, a profession in which
he has an opportunity of displaying his brutal disposition. He is here
shewn cruelly beating one of his poor horses for not rising; though in its
fall, by over-setting the coach, it has had the misfortune to break its leg;
and so sensible is the afflicted creature of the unkindness of his master,
that we perceive the big round drop trickling down his cheek, a manifest
proof of his inward feelings. Pity is it that such barbarous wretches should
be suffered to live! However, his behaviour attracts the notice of a passerby; who is taking the number of his coach, in order to have him punished.
The humane countenance of this man, opposed to the rigid severe one of
the other, affords us an agreeable contrast, and keeps up the spirit of the
piece. In some measure to brighten the scene, our artist has described
this coach as carrying four barristers from Thavies-Inn, to WestminsterHall, the longest shilling fare, for which they are supposed to club their
E e 2






THE SECOIND STAGE OF CRUEIELTY.


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THE FOUR STAGES OF CRUELTY.
three-pence each.  On the right is represented one of those inhuman
wretches, whose employ is to drive cattle to and from Smithfield Market.
He is beating a tender, over-driven lamb with a club-stick, for not going
on; and the poor faint creature is dying with his blows, with its entrails
issuing from his mouth! Further back is a drayman, belonging to a brewer,
asleep, riding upon the shafts, and his dray running over a child that had
been playing with his hoop.  Still further back is a lubberly fellow riding
upon a laden ass; and as if the beast was not sufficiently burthened, he has
taken up a porter, with a load upon his back, behind him. Observe the
over-laden animal, ready to sink under the weight, and the foremost rider
paying away upon his shoulders, while a man behind is goading him on
with a pitchfork! On the back-ground of this plate are a number of people
baiting or worrying a bull; one of the cruel amusements of this nation.
Another barbarous diversion this country is distinguished for, is cockfighting, which is here intimated by the bill pasted up against the house;
but the most extraordinary amusement of all, was what we met with at
Broughton's" Amphitheatre, (which the legislative power has now thought
proper to suppress) where men were often engaged to fight with broadswords, for the entertainment of the public; and a limb laid open, by an
artful stroke, was generally accompanied with a roar of applause. Amazing
that such things should ever have been tolerated in a christian country!
* Broughton, the proprietor of this place, was himself a bruiser, and had one of is eyes beat out by a man
with whom he fought for a wager.




.THE FOUR STAGES OF CRUELTY.


PLATE     III.
CRUELTY IN PERFECTION.
"To lawless love, when once betray'd,
" Soon crime to crime succeeds;
"At length beguil'd to theft, the maid
"By her beguiler bleeds.
"Yet learn, seducing men, not night,
" With all its sable cloud,
"Can skreen the guilty deeds from sight,
"Foul murder cries aloud!
"The gaping wounds, the blood-stain'd steel,
"Now shock his trembling soul,
" But ah! what pangs his breast must feel
"When death his knell shall toll!"
CONTINUED acts of barbarity are found in time to divest men of
their natural feelings; for he that would not hesitate to torture and destroy
a harmless, helpless animal, would not, but through fear of the law, scruple
to murder a fellow-creature. Nay, the laws themselves are not able to
prevent such horrid crimes. As a proof of this, Mr. Hogarth describes the
hero of this piece arrived at such a state of vice, as to be past feeling; no
tenderness is supposed to affect him, no sense of distress to move him.
Let us then take a view of cruelty in perfection, and see to what horrid
lengths his disposition has carried him. As a hackney-coachman, his
barbarity did not pass unnoticed; his treatment of his horses became
publicly known, and was attended with a discharge from his place: being
therefore at a loss for a maintenance, his wicked turn of mind soon led him
upon the road, which is shewn by the pistols and watches found upon him.
During the time he followed this iniquitous career, we are to suppose him
to have made himself acquainted with a young woman, a servant to some
lady residing in the country, whom we are to imagine he deceived by lies
and false protestations.




I~I




THE FOUR STAGES OF CRUELTY.


Having gained the affections of this unfortunate female, (whose head
we see is nearly severed from her shoulders,) and having also accomplished
her ruin, he next prevails on her to plunder her mistress, and meet him at
midnight. The time is intimated by the screech-owl and bat, which may
be observed upon the wing. She keeps the faithful assignation, laden with
plate and valuables. Having predetermined to screen himself from detection as an accomplice in the robbery, and also to rid himself of an expected
incumbrance, (for the woman is evidently pregnant), he commits the horrid
deed. In the struggle for life, her wrist is cut nearly through; her shrieks
alarm the servants of an adjoining house, who run to her assistance, but
arrive not at the spot until the vital principle had fled. The following letter
(found upon him, and which lies upon the ground, on the right of the plate)
will sufficiently explain the whole transaction:
Dear Tommy,
" My mistress has been the best of women to me, and my
conscience flies in my face as often as I think of wronging her; yet I am
resolved to venture body and soul to do as you would have me, so do not
fail to meet me, as you said you would; for I shall bring along with me all
the things I can lay my hands on. So no more at present, but I remain
yours, 'till death,
"Ann Gill."
We return to the hero of this tragedy. Behold him, then, for the first
time, struck with remorse of conscience, shuddering at the horrid deed,
stiffened at the sight of the bloody knife, with all his guilt depicted upon
his countenance! The domestics seize him without resistance; he is hurried
to prison, where we may conceive him awaiting his trial and sentence, in all
the horrors, of dismay, the natural consequence of his atrocious crime.




THE FOUR STAGES OF CRUELTY.


PLATE IV.
THE REWARD OF CRUELTY.
c Behold the villain's dire disgrace,
" Not death itself can end,
"He finds no peaceful burial-place,
"His breathless corse-no friend.
"Torn from the root, that wicked tongue,
"Which daily swore and curst;
Those eye-balls from their sockets wrung,
" That glow'd with lawless lust.
" His heart exposed to prying eyes,
" To pity has no claim;
"But, dreadful! from his bones shall rise
" His monument of shame."
HAVING shewn the progress of cruelty in different stages, our author
comes now to the punishment that awaits its perpetrator. He is condemned
to die by the laws of his country, and is conveyed to the place of execution; afterwards sent to Surgeon's Hall for dissection.    He is now under
the Surgeon's hands, and a lecture being read upon his body. Behold,
and shudder at the ghastly sight! See his tongue pulled from the root, his
eye-balls wrung from their sockets, and his heart torn from his body, which
the dog is gnawing beneath the table! To give us a true idea of this scene
of horror, in one place a man is pulling the entrails into a bucket, in
another, some sculls and bones are boiling in a caldron, by way of cleaning
and whitening them, in order to have them linked together by wires, as they
were connected in the human frame.      Two of these skeletons we observe
above, whom our author has humourously described as pointing, with a
grin to the Physician's or Surgeon's Arms upon the chair; viz. a hand
feeling the pulse, intimating that death is too often the consequence of car
too great opinion of these self-important nature menders. By the letters




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THE FOUR STAGES OF CRUELTY.
over the heads of these figures, we learn that one consists of the bones of
James Field, the noted bruiser; the other, those of Maclane; two notorious
fellows that died by means of a rope.  Though our attention is chiefly
called to the moral of the piece, we cannot but remark the humour of the
painter, who has, in some measure, enlivened this shocking scene, by the
many droll faces he has here and there interspersed, declaring the tenor of
their supposed conversation.  However, one thing more he particularly
alludes to, and that is the unfeeling heart of a dissector, which is found to
grow so callous by his practice, as to lose entirely its natural sensibility.




FOUR HEADS FROM THE CARTOONS AT
HAMPTON COURT.
Mr. WALPOLE, in his "Anecdotes of Painting," &c. speaking of
Sir James Thornhill's attention to these celebrated pictures, has the following remark: "' He made copious studies of the heads, hands, and feet; and
intended to publish an exact account of the whole, for the use of students:
but his work never appeared." —" As this plate was found among others
belonging to the late Mr, Hogarth, it is not impossible but that it might
have been engraved by him for his father-in-law, Sir James's intended
publication.  It was published as the Act directs, May 14, 1781, by
Mrs. Hogarth, at the Golden Head, Leicester Fields."


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DANIEL LOCK, ESQ. F.A.S.
DANIEL LOCK was an architect of eminence. He retired from
business with an ample fortune, lived in Surrey-Street, and was buried in
the Chapel of Trinity College, Cambridge. This portrait was originally
engraved by J. M'Ardell, from a painting by Hogarth, and is classed among
the productions of our artist that are of uncertain date.


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FOUR GROUPS OF HEADS.


PLATE I.
THE LAUGHING AUDIENCE.
-THIS is a representation of some part of the Royal Theatres, exhibiting
at b6ttom one end of the orchestra; behind, a corner of the pit; and above,
part of the side boxes, wherein are, two fantastic figures, one in amorous
parlew with an orange-girl,? and the other presenting a lady with a pinch
of snuff in all the.affectation of finical politeness; it being extremely
unfashionable for people of the first rank to pay any attention to the drama,
their whole occupation during the performance being ogling, staring,
trifling, and talking.; and the last, frequently so loud as to disturb other
people. It has been often remarked, that the. laughing face discovers the
depth of understanding, and generally corresponds with the heart. Thus,
at one time have we seen the simper of prudish affectation, and the grin of
boyish folly; at another have we observed the smile of approving favour,
and heard the roar of sapient applause. Here then may we feast our eyes,
please our imaginations, and study mankind, in the many droll appearances
of delightful fancy.
The three musicians in the orchestra are so accustomed to similar
scenes, that they pay as little regard to the humour of the piece as the sage
critic, whose head is covered by an enormous bushy peruke.
The Laughing Audience was published in 1733, as a Subscription
Ticket to " The Rake's Progress" and " Southwark Fair."-The receipt
was afterwards torn off.


* One of those women who sell fruit in the play-houses.






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PLATE II.
THE PUBLIC LECTURE.
HERE we have a strange and motley collection of geniuses, graduates
and under graduates of one of the universities, assembled in order to attend
the solution of some philosophical question. They are habited according
to their different ranks or colleges; some in round caps, some in square
ones, and others in hats, the badge of a master's degree. They all seem
very attentive, but few of them able to comprehend. Dullness and stupidity
seem to characterize them. They are in general described as a parcel of
lubberly boys, supposed, as it were, to be turned wild from school, unpolished and unknowing. By the subject the lecturer is discussing, (in which,
we perceive he admits a vacuum, a subject that has puzzled philosophers in
all ages of the world); we are taught how idly and to what little purpose
youths at the university pass the greater portion of their time, and the folly
of that part of academical education, which consists in teaching what in
fact is not to be taught, and unravelling things in their nature incomprehensible.




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FOUR GROUPS OF HEADS.


PLATE III.
THE CHORUS.
IN this plate is exhibited a number of singers, with their respective
parts before them, joining in that chorus in the Oratorio of Judith, composed
by Handel, " The World shall Bow before the Assyrian Throne;" in which,
any one that has ever been present at a vocal performance may readily
discover, by the distortion of the mouth, the bass from the tenor, and the
tenor from the treble. In no group of faces is there a greater contrast, a
more uncommon variety, or a more ridiculous appearance to be found,
than in that which is composed of a number of choral singers, whose difficulty of sounding particular notes, obliges some to distort their features,
and whose insufferable affectation is the cause of that distortion in others.
Nay, not their faces only, but their whole bodies are engaged in this laborious task, dividing the time with their head, their shoulders, and their feet.
In such universal agitation is the director of the band above, in beating the
time, that we see he has been under a necessity of tying on his spectacles
with a string; and it would have been well had he fastened on his wig also,
having shaken that off at the commencement, which he is supposed not to
miss, through eagerness of attention to the business he is upon.


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FOUR GROUPS OF HEADS.


PLATE IV.
CONSULTATION OF PHYSICIANS-THE UNDERTAKERS' ARMS.
THIS plate is designed, with much humour, according to the rules of
heraldry, and is called The Undertakers' Arms, to shew us the connection
between death and the quack doctor, as are also those cross-bones on the
outside of the escutcheon. When an Undertaker is in want of business,
he cannot better apply than to some of those gentlemen of the faculty, who
are, for the most part, so charitably disposed, as to supply the necessities
of these sable death hunters, and keep them from starving in a healthy
time. By the tenor of this piece, Mr. Hogarth would intimate the general
ignorance of such of the medical tribe, and teach us that the little knowledge they possess resides in their voluminous wigs and golden-headed
canes. They are represented in deep consultation upon the contents of
an urinal.  Of the three figures above, that with the divided face was
intended for Dr. Ward, a celebrated quack, one of whose cheeks was
marked with claret; the other on the opposite- side was designed for the
elder Taylor, the noted Oculist.  The head of this man's cane being
painted with an eye, and one of his as closed, tells us that both are to be
understood as equally concerned in the consultation. The middle one is a
Mountebank's Merry Andrew, (having in his hand an oaken towel, with a
head of the second magnitude,) here placed to shew us the great judgment
of these men in physical debates; whose skill in medicine we are to suppose
in no respect greater than that of him who deals out physic on a public stage,
taking advantage of a credulous multitude, to vend his pernicious drugs,
under a specious pretence of their being specific. But as our artist's own
illustration of this coat of arms, engraved at the bottom of the plate, may
give a greater insight into the subject, it is added as follows: " The Company
of Undertakers beareth, sable, an urinal, proper between twelve quack heads
of the second, and twelve cane heads, or, consultant. On a chief, Nehulae,
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'COS ULTATION OF PHYSICIANS.


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FOUR GROUPS OF HEADS.
ermine, one complete doctor, issuant, checkie, sustaining in his right hand
a baton of the second. On the dexter and sinister sides, two demi-doctors,
issuant of the second, and two cane heads, issuant of the third; the first
having one eye, conchant, towards the dexter side of the escutcheon; the
second,faced, per pale, proper, and gules guardant.-With this motto, —Et
plurima mortis imago. The general image of death.




PAUL BEFORE FELIX.


rL - - - - --
- -- - -


PLATE I.
"And as he reasoned of righteousness, temperance, and judgment to come, Felix trembled." Acts, Chap. xxiv. Verse 25.
THE subject of this plate is that of the preaching of St. Paul, when
brought as a prisoner from Jerusalem to Caesarea, and summoned to appear
before Felix, the Governor of Judea, as we find it recorded in Holy Writ,
to answer many misdemeanors maliciously alledged against him. This Felix
was a favourite, a creature of Claudius Caesar, then Emperor of Rome.
He was sensual and avaricious, and exercised in Judea, where he was
appointed Governor, a royal power, with a mercenary soul. When this is
considered, the subjects on which the apostle spoke, appear to be chosen
with great art and propriety, and calculated to rouse the person to whom
they were addressed, from that state of insensibility into which he had been
so long plunged. He treated of righteousness, (that is justice) temperance,
and of judgment to come. How admirable a lesson is this conduct of
St. Paul, to the modern preachers of the age!-They try to accommodate
their sermons to the disposition of their hearers, and are very careful not
to touch on subjects that may give offence; though treating on such subjects
perhaps is their immediate duty. Upon this principle, had Felix shewn
any desire of knowing the gospel, St Paul had a fine opportunity of ingratiating himself in a very pleasing manner. The christian religion being
favourable to all men, St. Paul might have discoursed upon one of those
points that would have flattered his ennobled hearer; he might have spoken
of the greatness of sovereigns, and its relation to that of the Supreme Being;
he might have said "the magistrate carries not the sword in vain;" that God himself has told them" they are Gods and Children of the Most High."  But all
this art was unknown to our apostle; he pierces the stubborn heart of Felix,
penetrates the centre of his passions, finds a way to that conscience that had
long been buried, and shakes the sinner in his greatest security. He preaches




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PAUL BEFORE FELIX.


of righteousness, temperance, and judgment to come. He preaches of
righteousness; here he supported the rights of the widow and the orphan;
made it appear that kings and magistrates are established to uphold the
interests of the people, and not to follow their own caprices; that the end
of sovereign power is, that all may be happy under the vigilance of one, and
not that one should prey upon the substance of all: that abuse of power
betrays a baseness of soul, and that 'tis an act of cruelty to oppress the
wretched, who have nothing but their cries and tears to defend them. He
preaches of temperance; here he set forth the disorders of luxury, and its
inconsistency with christianity. In short he preaches of judgment to come;
and it was this that gave weight to his ministry: he proved the truth of it,
described its preparation, displayed its dreadfli pomp, and made its awful
sounds resound in the ears of Felix, who at that time knew no other god
than an incestuous Jupiter, or a voluptuous Venus. -He sets before him the
great and the small; Felix the favourite of Caesar, and Paul before Felix;
he sets thpm before hir, all summoned with " Rise ye.deadfrom your graves,
and come to judgment." - At this his mind is, alarmed, his heart quakes, the
roll drops from his trembling hand, his teeth chatter, his knees beat one
against another and his. whole frame shudders.-It were sincerely to be
wished that every preacher would endeavour, in this respect, to imitate
St. Paul; not, suffer their self-interest to connive at religion, but stand forth
in the cause of God, be it as unpopular or unfashionable as it may!-What
a-surprizing sight is here!-The Governor trembles while the prisoner speaks
with firmness! The prisoner, though in chains, makes his judge tremble!
Behold.the miraculous force of conscience! —Take notice of the united
attention of the whole court; and remark the effect in their faces! One is
enraptured at his doctrine; a second receives the dreadful truths with salutary fear; a third is inwardly convicted; a fourth attends with eagerness to
catch the heavenly accents from his tongue; and Tertullus, under the column
on the left, ceases his accusation with disappointed amazement. With respect
to Ananias the high-priest, his eyes and position manifestly declare his
abhorrence of the man, give us to-understand that the apostle's words rankle
in his heart, and that though he secretly feels the power of conviction, still
he cannot smother his professed hatred of the christians.
This plate, for the boldness of its figures and disposition, their variety
of expression, and the beauty of its colouring, may be reckoned one of our
artist's most capital performances.




PAUL BEFORE FELIX.


PLATE II.
AFTER THE MANNER OF REMBRANDT.
HERE we see the matter treated with that spirit of humour for which
our artist was so much distinguished; and lest the bigotted religionist should
censure him as profane for so doing, let it be considered that such is the
degeneracy of mankind, that- naked truth often displeases, which, if dressed
up according to the fashion of the times, would be greatly admired. This
Consideration has given him an opportunity of ridiculing Rembrandt's manner
of painting@, which he has here done with great vivacity. So much for the
design; now for the explanation. The principal persons before whom
St. Paul is preaching, are Felix, Drusilla, the high-priest, and Tertullus;
the rest are hearers.  Felix is known rby his temples being wreathed with
laurels5 the customary tire of a Romari Governor: Drusilla is painted with
a dog: in her lap, (alluding to the ridiculous occupation of our modern
ladies;) the high-priest is described as ready to fly at our apostle with rage;
and Tertullus as a serjeant-at-law, in a fit of mortified anger, tearing his
brief, or the accusation he unjustly brought against him.  It would be
unnecessary to repeat my remarks on what St. Paul is saying: I shall
only observe that he excites the fear and astonishment of all; which last
seems to have worked so strongly upon, the governor, as to relax all his
powers of retention, and empoison the surrounding air with a smell something less odorous than court perfumes.  The positions of Drusilla, the
person next her, the fasces-bearer above, and the, three below her, are
finely executed; and the expression of their faces is great and masterly.
Mr. Hogarth has not forgotten to introduce a whining, hypocritical old
woman or two, and a person asleep, in the group of by-standers, in order
to complete the scene: had this been omitted, it must have been declared
* A Dutch painter, who constantly, in his scripture-pieces, introduced some absurdity or other, as a cat and
dog fighting, &c.




I




PAUL BEFORE FELIX.


imperfect. He has pictured St. Paul as a little man, has placed him upon a
stool, that he might command the whole court, and be able to lay down the
law to all. An angel is represented as holding this stool, and is supposed
to have closed his eyes with collected attention. Now as wickedness is ever
upon the watch to ensnare the unwary, and take advantage of an unguarded
moment, we must acknowledge it is here admirably described. A black
dog belonging to Felix, an emblem of his malicious master, is creeping to
fly at this celestial inhabitant; and the devil is taking this opportunity to
saw the apostle down.  On the left of this plate is one of Satan's spies,
gathering the pieces of the torn accusation," as they fall from Tertullus's
hand, and turning up his nose at its want of sufficient virulence; intimating
the disposition of a suborned witness, who will study to blacken the accused
to the utmost of his power, and if innocence should chance to bear up
against it, condemn himself for not having done it completely. Another
thing we must not omit taking notice of, is the pedestrian figure of Justice,
on a pedestal, differently represented to what she usually is. Here we see
her corpulent, grown fat by the law, hardly able to bear up against the bags
of gold hanging at her side; one of her eyes is uncovered, and that directed
with a look of caution to this court of judicature; her hair, on her blind
side, standing on end; one scale weighing down the other, and instead of
the sword she is customarily painted with, holding in her hand a butcher's
knife, (a symbol of persecution) on which is engraved the city dagger,+
(alluding to the metropolis being the seat of justice) and that pointed
towards the bench; giving us to understand that though our laws are wisely
framed, yet such is the frequent partial distribution of them, that offenders
often escape the lash, while innocence falls beneath the blow. 'Tis therefore incumbent on the magistracy, if they hope themselves to be acquitted
hereafter, to act with that uprightness, impartiality and justice, that distinguish the good man from the bad.
* The words of this accusation may be seen in the Twenty-fourth Chapter of the Acts of the Apostles.
t In the Arms of the City of London, the principal thing is a dagger.




MASQUERADES AND OPERAS.


BURLINGTON GATE.
THIS print appeared in 1723. Of the three small figures in the centre
the middle one is Lord Burlington, a man of considerable taste in Painting
and Architecture, but who ranked Mr. Kent (an indifferent artist) above his
merit. On one side of the Peer is Mr. Campbell, the Architect; on the
other, his Lordship's Postilion.  On a show-cloth in this plate is also supposed to be the portrait of King George II. who gave ~1000 towards the
Masquerade; together with that of the Earl of Peterborough, who offers
Cuzzoni, the Italian singer, ~8000, and she spurns at him. Mr. Heidegger,
the regulator of the Masquerade, is also exhibited, looking out of a window,
with the letter I. under him.'
The substance of the foregoing remarks is taken from a collection
lately belonging to Captain Baillie, where it is said that they were furnished
by an eminent connoisseur.
A board is likewise displayed, with the words " Long Room. Fawks's
dexterity of hand." It appears from the following advertisement that this
was a man of great consequence in his profession: " Whereas the town
hath been lately alarmed, that the famous Fawks was robbed and murdered,
returning from performing at the Dutchess of Buckingham's house at
Chelsea; which report being raised and printed by a person to gain money
to himself, and prejudice the above-mentioned Mr. Fawks, whose unparalleled performance has gained him so much applause from the greatest of
quality, and most curious observers: We think, both in justice to the
injured gentlemen, and for the satisfaction of his admirers, that we cannot
please our readers better than to acquaint them he is alive, and will not only
perform his usual surprising dexterity of hand, posture-master, and musical
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clock: but, for the greater diversion of the quality and gentry, has agreed
with the famous Powell of The Bath for the season, who has the largest,
richest, and most natural figures, and finest machines in England, and
whose former performances in Covent Garden were so engaging to the
town, as to gain the approbation of the best judges, to shew his puppetplays along with him, beginning in the Christmas Holidays next, at the Old
Tennis-court, in James's-street, near the Haymarket; where any incredulous
persons may be satisfied he is not left this world, if they please to believe
their hands, though they can't believe their eyes."-" May 25," indeed,
" 1731, died Mr. Fawkes, famous for his dexterity of hand, by which he
had honestly acquired a fortune of 210,000, being no more than he really
deserved for' his great ingenuity, by which he had surpassed all that ever
pretended to' that art."
This satirical performance of Hogarth, however, was thought to be
invented and-drawn -at the instigation of Sir James Thornhill, out of revenge,
because Lord Burlington had preferred Mr. Kent before him to paint for
the King at his Palace at Kensington.  Dr. Faustus was a Pantomime
performed to crowded houses throughout two seasons, to the utter. neglect
of Plays, for which reason they are cried about in a wheel-barrow.




RICH'S GLORY,
OR,
HIS TRIUMPHANT ENTRY INTO COVENT-GARDEN.
THE date of this print has been conjectured from its reference to the
"Beggar's Opera," and " Perseus and Andromeda,' both of which were
acted in the year 1728.
It represents the removal of Rich and his scenery, authors, actors,
&c. from Lincoln's-Inn Fields to the New House; and might therefore
be as probably referred to the year 1733, when that, eventhappened.
The scene is the area of Covent Garden, across which, leading toward the
door of the Theatre, is a long procession, consisting of a cart loaded with
thunder and lightning, performers, &c.; and at the head of them Mr. Rich
(invested with the skin of the famous dog in " Perseus and Andromeda")
riding with his mistress in a chariot driven by Harlequin, and drawn by
Satyrs. But let the verses at bottom explain our artist's meaning.
"Not with more glory through the streets of Rome
Return'd great Conquerors in triumph home,
Than, proudly drawn with Beauty by his side,
We see gay R-h in gilded chariot ride.
He comes, attended by a num'rous throng,
Who, with loud shouts, huzza the Chief along.
Behold two Bards, obsequious, at his wheels,
Confess the joy each raptur'd bosom feels;
Conscious that wit by him will be receiv'd,
And on his Stage true humour be retriev'd.
No sensible and pretty Play will fall
Condemn'd by him as not theatrical.
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RICH'S GLORY-OR, HIS TRIUMPHANT ENTRY &c.
The Players follow, as they here are nam'd,
Dress'd in each character for which they're fam'd.
Quin th' Old Bach'lour; a Hero Ryan shows,
Who stares and stalks majestic as he goes.
Walker in his lov'd Character we see
A Prince, tho' once a Fisherman was he,
And Massanelo nam'd; in this he prides,
Tho' fam'd for many other parts besides.
Then Hall, who tells the bubbled countrymen
That Carolus is Latin for Queen Anne.
Did ever mortal know so clean a bite?
Who else, like him, can copy Serjeant Kite!
To the Piazza let us turn our eyes,,
See Johnny Gay on porters' shoulder's rise,
Whilst a bright Man of Tast his works despise.*
Another Author wheels his works with care,
In hopes to get a market at this fair;
For such a day he sees not ev'ry year."
By the Man of Taste, Mr. Pope was apparently designed.       He is
represented in his tye-wig, at one corner of the Piazza, wiping his posteriors
with the " Beggar's Opera."   The letter P is over his head.  His little
sword is significantly placed, and the peculiarity of his figure well preserved.
The reason why our artist has assigned such an employment to him,
we can only guess. It seems, indeed, from Dr. Johnson's Life of Gay,
that Pope did not think the "Beggar's Opera" would succeed.       Swift,
however, was of the same opinion; and yet the former supported the piece
on the first night of exhibition, and the latter defended it in his "Intelligencer,"
against the attacks of Dr. Herring, then Preacher to the Society of Lincoln's
Inn, afterwards Archbishop of Canterbury. Hogarth might be wanton in
his satire; might have founded it on idle report; or might have sacrificed
truth to the prejudices of Sir James Thornhill, whose quarrel, on another
occasion, he is supposed to have taken up, when he ridiculed The Translator
of Homer in a view of " The Gate of Burlington-house."


* The grammar and spelling of this line are truly Hogarthian.




Dr. THOMAS MORELL.


IN the year 1762, Mr. Hogarth gave to the public this excellent
portrait of his intimate friend and neighbour; who, being very fond of
music, was drawn by our artist in the character of a Cynic Philosopher,
with an organ near him, which was his instrument. This portrait, engraved
by Mr. Basire, and certainly an admirable likeness, was prefixed to Dr.
Morell's " Thesaurus" of Greek Poetry, printed at Eton in 1762.
Dr. Morell was born at Eton, in Buckinghamshire, March 18, 1703;
his father's name was Thomas, and his mother kept a boarding-house in the
College. At the age of twelve he was admitted on the foundation at Eton
school, and was elected thence to King's College, Cambridge, August 3,
1722. He took his' first degree in 1726, and became M. A. four years after.
At Lady-day 1731, he was appointed to the curacy of Kew, in Surrey, and
was some time curate of Twickenham. July 6, 1733, he was admitted ad
eundem at Oxford; and 1737 became F. S. A. having just been instituted,
at the presentation of his College, to the rectory of Buckland, Herts. In
the following year he married Anne, daughter of Henry Barker, Esq. of
Chiswick; and in July, 1743, became D.D. In 1775 he was appointed
Chaplain to the Garrison at Portsmouth; and for several years preached
the Botanical Lecture at Shoreditch Church. He was a very early contributor to the Gentleman's Magazine; but his first detached publication was
a work, intituled, " Poems on Divine Subjects, Original, and translated
from the Latin of MI. Hierom. Vida. With large Annotations. Lond.
1732, 8vo. He was afterwards the Author and Editor of many learned
works; and had at one time a newspaper controversy with the Methodists,
in which he was frequently known to display great quickness. He lived at
Turnham Green, and was in habits of the greatest intimacy with Hogarth.
He died, much lamented, February 19, 1784; and was buried eight days
afterwards, at, Chiswick. In the Epistles of Seneca, one of Dr. Morell's




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— ".T. 1aORE L L, S. T. PS- S. S.A.




Dr. THOMAS MORELL.
Posthumous Works, there are many not unagreeable specimens of the
garrulity of age.  "Old as I am," says the translator, "I never knew an
injury which was not easily forgiven; nor a distress but what was tolerable,
and as the world goes, rather required a contemptuous smile than a tear."
This was at the close of life; and there are few but would be pleased
to hear an old man make such a declaration. He imitated the peculiar
manner of Seneca with considerable spirit, and at the same time gave a
correct and faithful translation. He devoted a long life to Classical Learning, and though his attainments or his keenness were not equal to those of
a Porson, he rendered many services to classical readers. Nor should it
be forgotten, that the calls of Literature never rendered him neglectful of
his, duty as a Clergyman.




KING HENRY THE EIGHTH AND ANNA BULLEN.
THIS plate has very idly been imagined to contain the portraits of
Frederick Prince of Wales, and Lady Vane; but the stature and faces both
of the Lady and Percy are totally unlike their supposed originals. Underneath are the following verses by Allan Ramsay:
" Here struts old pious Harry, once the great
Reformer of the English Church and State:
'Twas thus he stood, when Anna Bullen's charms
Allur'd the amorous Monarch to her arms;
With his right hand he leads her as his own,
To place this matchless Beauty on his Throne;
Whilst Kate and Piercy mourn their wretched fate,
And view the Royal Pair with equal hate.
Reflecting on the pomp of glittering crowns,
And arbitrary power that knows no bounds.
Whilst Wolsey, leaning on his throne of state,
Through this unhappy change foresees his fate,
Contemplates wisely upon worldly things,
The cheat of Grandeur, and the faith of Kings."
Ramsay seems to have been particularly attached to Hogarth.   He
subscribed for thirty copies of the large Hudibras.
The original picture was at Vauxhall, in the portico of the old great
room, on the right-hand of the entry into the garden.




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THE BEGGAR'S OPERA.
THE title over this print was in capitals, disproportionably large.
" Brittons, attend-view this harmonious stage,
And listeli to those notes which charm the age.
Thus shall your tastes in sounds and sense be shown,
And " Beggar's Op'ras" ever be your own."
No painter or engraver's name. The plate seems at once to represent
the exhibition of the " The Beggar's Opera," and the rehearsal of an
Italian one.
In the former, all the characters are drawn with the heads of different
animals; as Polly with a cat's; Lucy, with a sow's; Macheath, with an
ass's; Lockit, and Mr. and Mrs. Peachum, with those of an ox, a dog,
and an owl.
In the latter several noblemen appear conducting the chief female
singer forward on the stage, and perhaps are offering her money, or
protection from a figure that is rushing towards her with a drawn sword.
Harmony, flying in the air, turns her back on the English playhouse, andy
hastens towards the Rival Theatre. Musicians stand in front of the former,
playing on the Jew's-harp, the salt-box, the bladder and string, bagpipes,
&c. On one side are people of distinction, some of whom kneel as if
making an offer to Polly, or paying their adorations to her. To these are
opposed a butcher, &c. expressing similar applause. Apollo and one of
the Muses are fast asleep beneath the stage. A man is easing nature
under a wall hung with ballads, and shewing his contempt of such compositions by the use he makes of one of them. -A sign of the star, a gibbet,
and some other circumstances less intelligible appear in the back ground.


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THE BEGGARS OPERA.


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SPILLER'S TICKET.


HERE we find 'the talent of Hogarth called forth in the service of
humanity, and to the aid of this Son of Mirth; who, about the year 1728,
appears to have been reduced to penury and great distress.
The annexed copy of an unique print was engraved for the benefit of
poor Spiller, the Shuter of his day. On this small print the artist has
bestowed uncommon labour and attention: the markings of the face of this
comedian, although so very diminutive, are yet so nicely discriminated as
to become a real portrait. Nor has he failed in displaying that wit and
humour in which his greater works so much abound: the anxiety in Spiller
to get rid of his tickets, and dread of the impending danger, from the
urgency of his creditors, is forcibly represented in every turn of his countenance. The conceit of the money-scale not preponderating against the
tradesmen's bills, and leaving the poor comedian no alternative but to
linger in a gaol, or to be shot at as a soldier, is happily executed, and
worthy the pencil of its author: the style of engraving in the original print
may be ranked with the best of Hogarth's works. The copy, though short
of it, will yet, we flatter ourselves, give no ill idea of the original. As the
biography of a player seldom outlives the remembrance of his contemporaries, some information relative to this singular character may not prove
unacceptable to the reader.
This theatrical hero was the son of a Gloucester carrier, and was born
in 1699. The father having acquired some property, apprenticed this, his
only son, to a Mr. Ross, a landscape-painter. In this profession he is said
to have made some progress; but, as no specimens of his talents have been
handed down, to our knowledge, we cannot speak concerning his merit in
that line. Before the expiration of his apprenticeship he engaged in a
strolling company; where, comedy being his forte, he sometimes burlesqued
Alexander the Great, and other characters of that class. In London his
comic talents were better understood, and more amply encouraged. We
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find him, in many of his humourous parts, rivalling Pinkethman, of facetious memory, and of whom Sir Richard Steele observes, that " Pinkey
made a living of his face."
Spiller was not only the rival of Pinkethman; but, we are told, he
once picked his pocket, when asleep, at the Gun Tavern, Billingsgate, of
his part, the character of the Cobler, written for him by Johnson, and
which he was then studying.
With this treasure Spiller hastened to his friend Bullock, the comedian,
and Manager of Lincoln's-Inn Fields Theatre; who was likewise an author.
Bullock received him graciously, and without scruple applied the theft to
his own use, by preparing a piece on the same subject, called " The Cobler
of Preston;" and this he was enabled to produce a fortnight before the
other house could prepare their drama for the stage.
In such repute was Spiller held as a comedian, when he was only
twenty-three years of age, that, we are told, 'plays were written expressly
to bring him forward on the stage.
He was famed for a species of low wit, perhaps, more in the taste of
those, than of the present times. The following coarse jest is imputed to
him, and may serve as a specimen.
Being one day upbraided for his poverty, when his salary was superior
to most of his fellow comedians, particularly by a certain female Italian,
who made; a considerable figure on a small theatrical stipend; he observed,
that " what made her rich, kept him perpetually in want."
The wit of Spiller seems not to have been the effect of wine only; for,
in his sober moments, and even in pain, the effusions of it would sometimes
break forth: and we are told, that one day, behind the scenes, in a raging
fit of the tooth-ache, on the barber of the theatre offering to relieve him,
he replied, " I cannot spare one tooth now, friend; but, after the. 10th of
Jun(the time of the house shutting), you may have them all; I shall then
have no further occasion for them, as I shall have nothing to eat."




ARMS OF THE DUTCHESS OF KENDALL.


THIS print may with great justice, and credit to the abilities of our
artist, be held forth as an exemplification of his superior taste and skill in
the profession. The boys are grouped with a simplicity and elegance in
their attitudes, not unworthy the pencil of Cipriani; nor is the drawing of
the savages who support the armorial bearings less to be admired; the
manner in which they are etched, denotes a freedom of style and superiority
of taste, rarely to be met with in works of this kind.
These arms were engraved on a large silver dish, which, about fifty
years ago, was sent to Mrs. Godfrey, a silversmith, in Norris-street in the
Haymarket, to be melted down. The lady for whom this plate was engraved
was a German Countess, named Erengard Schuylemberg. She came to
England soon after the accession of King George the First to the throne,
with whom she is said to have been closely connected. She was created
in July, 1716, in the second year of his reign, Baroness of Dundalk, in
the County of Lowth; Countess and Marchioness of Dungannon, in the
County of Tyrone; and Dutchess of the Province of Munster; all in the
Kingdom of Ireland: and in April, 1719, received the additional titles of
Baroness of Glastonbury, in the County of Somerset; Countess of Faversham, in the County of Kent; and Dutchess of Kendall, in the County of
Westmoreland; all in the Kingdom of England. From the lozenge in
which these arms are enclosed, this lady was evidently a spinster. But it
is somewhat singular, that the arms of a Duke of Kendall should have been
engraved on some pieces of plate about that period, and that evidently by
the graver of Hogarth.
Of these arms there are four different specimens now extant, within a
male shield, and with a ducal coronet. They may have possibly been her
own arms as a German Countess, as the coronet, though ducal, varies




ARMS OF THE DITCHIE S 0F KIEWDAL...




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ARMS OF THE DUTCHESS OF KENDALL.
materially from that here introduced.  If so, Hogarth might have copied
them on her plate at her first arrival in this country, before she received
English honours.
Though this lady had no son, she certainly had a niece, or nearer
relative, named Melosina de Schuylemberg, created Countess of Walsingham, Baroness of Aldborough, in the County of York, by patent, bearing
date 7th of April, 1722. She married the late Philip Dormer Stanhope,
Earl of Chesterfield, and died without issue in 1773.




HOGARTH'S CARD.


THIS card bears the date of April the 21st, 1720; a period at which
this artist, with his superior abilities, seems to have been compelled to
drudge in the humble pursuit of engraving ornaments in silver, shop bills
for mechanics, or inferior plates for booksellers.
This small card has an abundant share of merit in its execution; nor
has it less in the taste of its decoration. The female figure is looking up
towards a boy, who is probably meant, allegorically, to express Design or
Invention; 'and the figure of the old man writing, on the opposite side,
possibly, that of History. The allusions presage, in no small degree, that
dawn of thinking and quickness of imagination, which at a later period in
life, we find ripened into so vigorous a mind, as to display its effusions, at
least in one line of his profession, without competition. The original print
of this card is extremly scarce; whether that quality, or its intrinsic excellence influenced the purchaser, we know not, but an impression of it was
certainly sold for the enormous sum of twenty-five pounds.








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THE ENRAGED MUSICIAN.


AMIDST all the follies of the age, there never was a greater than
the immoderate passion of the people for music. Though amusement
and recreation are sometimes necessary, yet when carried to excess, they
become vitious. Now, so far did the luxury of this kingdom extend at.the
time when this plate was first published, which was in the year 1741, that
Italians (as being supposed to be the greater proficients) were brought over
at considerable expence; and the poorest and least skilled among them,
who, from a want of ability, or a want of means, could not continue in their
own country, soon discovering our folly, gathered here in flocks and took
possession of the place. When here, they were encouraged, and their
wretched abilities looked upon as supernatural; they introduced a new
stile of music, which suited well the growing levity of this nation. The
noble and elevated was immediately transformed into the trifling and insignificant: and the solemn and majestic sounds of British harmony gave
place to the tinkling frippery of Italian sing-song.
To ridicule this immoderate passion of the age for music, Mr. Hogarth
published this print; in it he represents an Italian professor of music, at
his study, enraged to the greatest degree, at the astounding noise the motley
group collected beneath the window are making, which seem assembled in
order to annoy and distress him. By the inscription on the house over
the way, he is also supposed to live in the neighlbourhood of a pewterer,
whose constant hammering is no trifling annoyance to him. Our artist
seems in this plate to have let none of the material or customary noises of
London streets escape him. In front are some children at their sports, one
of whom is hallooing and beating of a drum; another dragging a tile upon
the stones, while a third is winding a racket. On the right is a balladsinger, bawling out " The Lady's Fall," with a squalling infant in her arms;
on the left, a man grinding a cleaver, whose machine is standing on the foot
of a dog, and sets him yelping. Here we have a girl crying her milk, and
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THE ENRAGED MUSICIAN.


there a sow-gelder blowing his horn; here a fellow dissonantly blowing his
hautboy, there another crying of fish; in one place a paviour ramming
down the stones; in another, a dustman ringing his bell. To these are
added the chattering of a parrot, and the squalling of cats; and to complete all, from the top of the chimney is heard the cry of the sweeper, and
from the tower of the church, the ringing of bells; it being, by the flag,
supposed to be a day of rejoicing. One thing more we must not omit
noticing, which is the play-bill against the house, acquainting us that the
Beggar's Opera was performed that night, for the forty-sixth time, Miss
Fenton playing the part of Polly; Mr. Walker, that of Macheath; and
Mr, Hippisly, that of Peachum. This serves to commemorate the great
success of that dramatic performance, and in that success, the extraordinary taste of the town. Thus, by properly disposing the different figures,
and by preserving a strong contrast in their persons and countenances,
Mr. Hogarth has not only pleased the understanding, while he accomplished
his design, but has exhibited a group of the most laughable characters that
wit or drollery could combine.




SANCHO'S FEAST.


DON QUIXOTE.
IT has been sometimes thought that Sancho was the artist's favourite
character. He is here represented as Governor of Barataria, and seated
in the spacious hall of a sumptuous palace, surrounded with all the pompous
parade of high rank, and encircled by numerous attendants. A band of
musicians in an adjoining gallery, strike up a symphony to gratify his ear;
and a table is spread with every dainty, to feast his eye and fret his soul;
for however magnificent the appendages of this mock-monarch, the instant
he attempts to taste the solid comforts of government, the loaves and fishes
evade his grasp, are touched by the black rod, and vanish!
In plenty starving tantaliz'd in state,he curses the gaudy unsubstantial pageant, vows vengeance on the doctor,
and swears, that he will offer up him and every physical impostor in the
island, as a sacrifice to his injured and insulted appetite.
Hogarth has here caught the true spirit of the author, and given to
this scene the genuine humour of Cervantes.  The rising choler of our
governor is admirably contrasted by the assumed gravity of Doctor Pedro
Rezio. The starch and serious solemnity of a straight-haired student, who
officiates as chaplain, is well opposed by the broad grin of a curl-pated
blackamoor. The suppressed laughter of a man who holds a napkin to his
mouth, forms a good antithesis to the open chuckle of a fat cook. Sancho's
two pages bear a strong resemblance to the little punch-maker in the
Election Feast, and though well conceived might have had more variety;
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they present a front and back view of the same figure. To two females on
the Viceroy's right hand, there may be a similar objection.
The original print was designed and engraved at a very early period
of Hogarth's life. As it was finished with more neatness than any of the
eight which he afterwards etched for the same work, the copy is attempted
in a similar stile.




LAVINIA FENTON,


AFTERWARDS DUTCHESS OF BOLTON.
THIS portrait of Lavinia Fenton is most undoubtedly a very early
production of Hogarth. Indeed the date of it may be nearly ascertained,
from the probability of its having been painted when Gay's Beggar's Opera
first attained its popularity on the English stage.
Miss Fenton, it is well known, was the dramatic heroine of this piece;
and it is most probable, that notwithstanding its intrinsic merit, and the
original character and humour with which it abounds, it was in a great
measure indebted to the talents of this actress for the success which it met
with.
Her attractions, both in point of figure and musical powers, were so
fascinating, that it seemed doubtful whether the applause of crowded
audiences were bestowed on the drama, or on the beautiful and interesting
female that personated its principal character.
It would be superfluous to discourse concerning the merits of the
portrait. It is a sufficient panegyric to remark, that it is finished in the
best manner of our artist. The countenance is composed of a combination'of features, united together'with the exactest symmetry and proportion.
There is also a peculiar sweetness of expression in the eyes, which at
once indicate a more than ordinary portion of vivacity and penetration.
It is only natural to suppose that these external advantages, united to
an uncommon share of natural wit, should have contributed to make her
an universal favourite with the public. Perhaps the digression will be
pardoned us, if we give the reader a short sketch of the most material incidents in her life. It is impossible not to feel some curiosity concerning a
character which had arrived at so high a degree of celebrity at the period
when she flourished in the annals of beauty and gallantry; especially, also,
as she experienced one of those vicissitudes of fortune, which very rarely
occurs in the course of human affairs.




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LAVINIA FENTON.


Lavinia Fenton was born in the year 1708. She was the reputed
daughter of a Mr. Beswick, a lieutenant of a man of war. Not long after
the birth of Lavinia, her mother married a man of the name of Fenton, who
opened a coffee-house in the vicinity of Charing-Cross. Almost in infancy
this young lady discovered a very uncommon talent for music, and a voice
singularly melodious. Her parents spared no diligence nor expence to
improve the powers with which nature had endued her, and which, as they
imagined, might at some future period contribute most materially to her
advancement in life. Her talents were soon known to the then Manager
of the Haymarket Theatre; and accordingly in 1726 she made her first
appearance on that stage in the play of the Orphan.
With the natural gifts of a powerful voice, an attractive figure, and a
retentive memory, she was soon considered as a very useful actress, and
obtained from the town the most liberal marks of applause and admiration.
At that time it was no uncommon thing for popular players to receive
presents of considerable value from persons of rank, who were gratified
with their performance; and it is not surprising that a young lady so generally admired as, Miss Fenton, should receive the most liberal marks of
munificence. From her situation, she was exposed at the same time to the
attention of the principal men of gallantry of the day.. Amongst others
who professed themselves her admirers, she was persecuted by the importunities of a young man of rank and fashion, who in a stile and manner
that wounded the delicacy of her feelings, entreated her to retire with him
into the country. Fond of admiration, habituated to public life, and in the
first dawn of her youth, it is easy to imagine that Lavinia would feel no
great predilection for rural retirement, on the terms proposed to her. Her
repugnance to, the country she, is said to have expressed upon this occasion
in some spirited lines still extant, but which overflow with so much of that
gallantry and libertinism of diction that characterized the time she lived in,.
that we forbear to insert them.
It seems that not long after she had poured forth the effusion of gallantry we have alluded to, and which was rapidly circulated and eagerly
sought after by the town, she appeared in a character not very unsuitable
to the author of such a composition: that of Cherry, in the Beaux Stratagem. Her powers were so fascinating in her performance of this character,
that all the men of wit and spirit of the time were competitors for her




LAVINIA FENTON.


favors, and contended together in a sort of emulation to please and gratify
her. The reputation she had already required, was a powerful inducement
to Rich to engage her at his Theatre in Lincoln's-Inn Fields. She accepted
his offer of a salary of fifteen shillings a week, which was soon after doubled,
on her appearance in the Beggar's Opera. And in this character she
displayed such strong powers, both vocal and dramatic, that she attained
in the theatrical world the highest consummation of fame.
This seems to be the eera of the remarkable good fortune which she
met with. Gay, in a letter to Swift, dated July 6, 1728, says, " The Duke
of Bolton has run away with Polly Peachum, having settled '~400 a year
upon her during pleasure, and upon disagreement ~200, a year/"
She lived with this nobleman for twenty-four years, and became his
wife in 1751, on the death of his dutchess, She held this dignity nine
years; died in 1760, and was buried at Greenwich, During her connection
with the Duke, she never forfeited the estimation in which her character
was held; and in her conjugal state, supported the duties of it with propriety
and decorum.




ARMS AND CHILDREN OF THE FOUNDLING
HOSPITAL.
THE ARMS.
OVER the crest and supporters is written-A Lamb-Nature-Britannia. In the shield is a naked infant: the Motto, HELP.
This is an accurate fac-simile from a drawing with a pen and ink, by
Hogarth. Published as the Act directs, July 31, 1781, by R. Livesay, at
Mrs. Hogarth's, Leicester-Fields. The original is in the collection of the
Marquis of Exeter.
THE CHILDREN.
Children of The Foundling Hospital; the boys with mathematical
instruments; the girls with spinning wheels. Over the door of the house
they come out of, are the King's Arms. A porter is bringing a child,
followed by Captain Coram, whose benevolent countenance is directed
towards a kneeling woman. On the right hand is a view of a church; near
it a woman lifting a child from the ground; at a little distance, another
infant exposed near a river. In the back of the picture, a prospect of
ships sailing.
This print is prefixed to an engraved Power of Attorney, from the
trustees of the Foundling Hospital, to those gentlemen who were appointed
to receive subscriptions towards the building, &c. The whole together is
printed on a half sheet.




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INHABITANTS OF THE MOON.
ABOUT the year 1750, (if we may judge by the wigs and style of
dress) appeared the original of this severe satire on royalty, episcopacy,
and law.
The scene is supposed to be in the clouds, where, on a platform, the
principal characters are seated. The head of the monarch is either a
crown-piece or a guinea. The collar of Esses is ludicrously changed to a
string of bubbles; his breast is decorated with a pointed star; and on the
top of the globe and sceptre is a crescent, alluding to his lunar situation.
Beneath his throne is a circle, perhaps intended as an emblem of perpetuity.
The satire on episcopacy is still more strongly pointed: the face of
the bishop is formed of a Jew's harp, which may probably allude to his
religious tenets, having arisen out of the doctrines of Judaism. He is
pulling a bell rope, that is fastened to the bible, which serves as a lever, to
act upon a machine, the lower part of which is a mill, but the upper part a
steeple, having a vane at the top of it; and a bell, plainly seen in the act
of ringing or working: intimating, that by this instrument he works out of
the church those good things, without which he would set little value upon
his spiritualities: this treasure falls into a coffer, sarcastically marked as
his own, by the armorial bearings, a knife and fork, with the mitre added
as a crest. Beneath the episcopal robe peeps a cloven foot; and if we
may judge by the weather cock, the motion of the pump is in some degree
acted upon by the king, in whose quarter the wind seems to set.
The head of law appears to be made of a large mallet or wedge. To
this metaphor we can give no explanation: nor is the enormous size of the
sword, which seems to betray more than common justice, an allusion so
clearly understood as some other parts of the design. The composition of
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INHABITANTS OF THE MOON.
the courtiers who attend monarchy, &c. is well conceived, and marks the
contempt our artist entertained for the danglers in that situation. By the
letters that appear marked in several parts of this print, it may be presumed
that a full explanation of it was intended to have been given. The sagacity
of the present day will, however, we conceive, render any further elucidation of this print unnecessary, as the artist's meaning is pretty clearly
explained without those references.












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FaROTI$SEPICEC TO THE -B PP AeCETIe,1724.


FXONTISPIECE TO LEVERIBGE'S $SO  S,727.




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FRONTISPIECE TO LEVERIDGE'S SONGS.
THIS collection of songs was published in two volumes, in the year
1727. There is no doubt of the original frontispiece from which this is
copied, nor of the ornamental borders to the title-page, being designed and
executed by Hogarth.
They bear a close resemblance to the rest of his earlier productions,
both on plate and copper. The present effort affords no striking subject
for minute criticism. The lady is represented in the act of addressing
Venus and Bacc hus, in behalf of Leveridge's productions: and Cupid is
exerting all his little arts and blandishments, to induce his mother to listen
favorably to the request of her earthly votary. As for the deities themselves, they are sitting on the clouds in a state of indifference and apathy
about the business.
The style of engraving is obviously characteristic of the manner of
Hogarth, and although the print does not bear his name, yet, as a scarce
and early production of the artist, it demands a place in this collection.
An original impression was sold for the enormous sum of five guineas.


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SHOP BILL FOR MARY AND ANN HOGARTH.
THIS shop-bill, engraved for his sisters, Mary and Ann Hogarth,
being without a date, we place among the earliest works of our artist.
There is yet reason to believe that it was executed as late as 1725, the
time when we are told they first commenced business. This period likewise agrees with the age of his sisters, who were then old enough to engage
in such an undertaking. The younger sister, Ann, by her monument in
Chiswick Church-yard, we find was born in 1701. The originality of this
print has never yet been doubted, even by the most scrupulous; its ornaments are bold and animated; and the masterly, though careless touch of
the graver, justly gives it a claim to approbation. The tasteless mode of
dress at that time, is prominent in this print, and at first glance may be
some drawback to its merit: notwithstanding this disadvantage, the figures
appear easy and natural in their attitudes, particularly those of the children.
To condemn an artist for the vitiated taste of the times in which he lived,
is unfair. The very great merit of Sir Godfrey Kneller, as a portraitpainter, has frequently suffered in the eyes of the injudicious and inconsiderate, by not giving themselves time to get the better of a disgust conceived at the first glance, from the ungraceful length and bulk of his
periwigs.












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GADEBN SCENE AT.EffjICH'S VILLAY AT C OWLE
Frorb az Orgin  aiz  iia  d  Pols'esJion ofibr LffL;ari d: Esq:


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GARDEN SCENE AT COWLEY,


THE RESIDENCE OF THE LATE THOMAS RICH, ESQ.
THIS scene represents a favourite spot in the garden of the late
Thomas Rich, Esq. at his Villa at Cowley, near Uxbridge; from the
original, supposed to have been painted for Mr. Cock, the celebrated
Auctioneer, about the year 1750, and now in the possession of Abraham
Langford, Esq. of Highgate. "Mr. Rich is represented sitting in an easy
and natural attitude, in the front of the picture; and the lady whose hand
is placed on the table, is a portrait of his wife. The figure to the right, in
a tye-wig, who has his hand likewise on the table, and is viewing the
picture held up by the servant, represents Mr. Cock; whose portrait is
also discernible in the picture of the Beggar's Opera, in the late Duke of
Leeds's collection. The lady on the left of Mr. Rich, holding up a glass
to contemplate the picture, is Mrs. Cock, wife to the before-mentioned
gentleman. She was famed at that time for her knowledge in the polite
arts, no less than for her taste in literature. Hogarth has also introduced
his own portrait, as pointing to, and explaining the subject of his pictures,
which his friend is admiring."
This conversation is onthewhole,we think,the bestof our artist's productions in this stile of painting which we have seen. It is excellently grouped,
and each figure is happily appropriated to the general subject, and the eye
reposes itself towards the centre of the picture, which should ever be the
case in the grouping of historical subjects, or familiar conversations. The
print will fully explain these particulars, but of the colouring it is necessary
to observe, that it has all the brilliancy and warmth of Rubens, nor are the
grey tints much inferior in transparency or clearness to those of Vandyck.
Hogarth's knowledge of the Clare-obscure, if ever it was doubted, is in this
design most happily illustrated. The picture exhibiting by our artist is




GARDEN SCENE AT COWLEY.
beautifully touched, and much in the style of Watteau; nor are the dogs
and still life inferior to the rest of the picture. Hogarth's great attention
to the subordinate part of his pictures cannot be too highly commended:
he never slighted the minutiae, nor considered even trifles beneath his
attention, a circumstance too common with most of our modern artists.








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THE LOTTERY.


THIS plate is found in four different states.  In one there is no
publisher's name under the title. Another was sold by Chilcot, &c. A
third was printed and sold by S. Sympson, in Maiden-lane, near Covent
Garden. A fourth was printed for John Bowles, who in 1785 possessed
the plate, which then had never been re-touched.
The following explanation accompanies this plate:-" 1. Upon the
pedestal, National Credit leaning on a pillar, supported by Justice.
2. Apollo shewing Britannia a picture, representing the Earth receiving
enriching showers drawn from herself (an emblem of State Lotteries).
3. Fortune drawing the blanks and prizes. 4. Wantonness drawing the
numbers. 5. Before the pedestal, Suspense turned to and fro by Hope
and Fear. 6. On one hand, Good Luck being elevated, is seized by
Pleasure and Folly; Fame persuading him to raise sinking Virtue, Arts,
&c. 7. On the other hand, Misfortune oppressed by Grief; Minerva,
supporting him, points to the sweets of Industry. 8. Sloth hiding his
head in the curtain. 9. On the other side, Avarice hugging his money.
10. Fraud tempting Despair, with a trap-door in the pedestal."-Had not
Hogarth, on this occasion, condescended to explain his own meaning, it
must have remained in several places inexplicable.


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ELLIS GAMBLE'S SHOP BILL.


OF the many works that were necessarily produced by Hogarth, in
the course of his apprenticeship with Mr. Gamble, few, comparatively,
have appeared, that are decidedly of his hand. We are fold he was so
industrious and attentive to the interest of his master, during his servitude,
as to have been, in the latter part of it, his chief support, as well as that of
his own family. This industry must have produced innumerable works;
and the only reason to be assigned for their scarcity, is their having been
principally done on pieces of plate; from which, either no impression was
taken, or if taken, was merely for the use of the artist, in the course of his
business. Those of his early works, which we have had an opportunity of
examining, have been marked with singular character, and a degree of
taste and judgment, peculiar to himself. In his ornaments there is a playfulness of fancy; and the curve, or line of beauty, of which he has so
copiously treated in his analysis, seems, even at that period, to have been
perfectly understood by him. This opinion is advanced and hazarded from
a full conviction of its truth. The specimen here selected, it is presumed,
will prove this assertion to be true, and in part rescue his early productions
from that contempt which has with some acrimony been occasionally manifested towards them.
The print here presented, is one of those early attempts of Hogarth,
while in the service of his master, and was evidently designed for his
shop bill.
The original of it is become extremely scarce; and although an early
production, and without name or date, has yet established itself in the
minds of the most scrupulous connoisseur, as a genuine work of Hogarth.


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SIGISMUNDA.
THIS is an unfinished plate of Sigismunda, attempted after the manner
of Endelink, originally etched by Mr. Basire. The size of the plate, 18
inches by 161. The outlines in general, and particularly of the face, were
completed under the immediate direction of Mr. Hogarth. It was intended
to be published by subscription. The plate itself is still in the hands of
Mr. Basire's son; and the print here presented is a faithful copy from
the original, taken by his permission.
This unfortunate picture, which was the source of so much vexation
to Mr. Hogarth, at least made a versifier of him, and furnished vent to his
anger in the following lines; which, as few specimens of his poetry are
known, may serve to gratify the curiosity of the reader. The old adage
facit indignatio versum seems scarcely to have been realized in this splenetic
effusion, which is intituled " An Epistle to a Friend," occasioned by my
picture of Sigismunda.
" Sir,
" To your charge the other day,
About my Picture and my pay;
In metre I've a mind to try,
One word by way of a reply.
"To risque, I own, was most absurd,
Such labour on a rich man's word;
To lose at least two hundred days,
Of certain gain, for doubtful praise;
Since living Artists ne'er are paid,
But then you know it was agreed,
I should be deem'd an Artist dead.
Like Raphael, Rubens, Guido Rene,
This promise drew me fairly in;




SIGISMUNDA.


And having laid my pencil by,
What Painter was more dead than I?
But dead as Guido let me be,
Then judge, my Friend, 'twixt him and me;
If merit crowns alike the piece,
What treason to be like in price?
If Merit-aye, if Merit crown;
But, where's the Painter this will own?
Rather than he will be so civil,
He'll see the Picture at the Devil.
When a new piece is ventur'd forth,
'Tis hard to fix upon its worth;
Most Critics being at a stand,
How to esteem a modern hand;
If they no copied line can trace,
No copied colouring, copied grace;
It can't be right, they're very sure,
Thus lisps the travel'd Connoisseur.
To Nature and Yourself appeal,
Nor learn of others what to feel.
"In Nature has the piece its source?
Does it unbidden feeling force?
Moves it the heart as much, or more,
Than Picture ever did before?
These the height of mimic skill:
The heart to pierce, the fancy fill.
These the Painter's truest test,
And these Sir Richard's self confess'd.
Nay; 'tis so moving, that the Knight
Can't bear the figure in his sight?
And who would tears so dearly buy,
As give four hundred pounds to cry?
I own, he chose the prudent part,
Rather to break his word than heart,
And yet, methinks, 'tis ticklish dealing,
With one so delicate-in feeling.
Some think his honour's not so nice,
And only boggles at the price.




SIGISMUNDA.
Instructed by those cunning curs,
The Picture-mending Brocanteurs;
Fellows, who'd vend a Pond for Titian,
And live by fraud and imposition.
Be this as 't will, whoe'er refers
To the fair sex as arbiters,
A case requiring nice sensation,
Is sure of a just arbitration:
To them I delegate my cause,
Who fairly judge by Nature's laws;
Should then my canvass so be spread,
That their unbias'd minds are led
To sympathize in the distress
I meant my picture should express,
I'm amply paid; and need not trust
To Time's full price-enhancing dust:
Its value fix when I'm in earth,
As statues moulder into worth.
When other Connoisseurs may rise,
Honest as ours, and full as wise,
To pay my works their due arrears,
When I've been dead an hundred years."




THE POLITICIAN.
IT will readily be allowed that the study of politics frequently involves
its votaries in tedious and unprofitable disputes, and is the source of much
evil to many well-meaning men. Under this class comes the character
here pourtrayed; it is said to be intended for a Mr. Tibson, a laceman, in
the Strand, who paid more attention to the affairs of Europe, than to those
of his own shop. He is represented in a style somewhat similar to that in
which Schalcken painted William the Third,-holding a candle in his right
hand, and eagerly inspecting the Gazetteer of the day. Deeply interested
in the intelligence it contains, concerning the flames that rage on the Continent, he is totally insensible of domestic danger, and regardless of a
flame, which,-ascending to his hat,"Threatens destruction to his three-tail'd wig."
From the tie-wig, stockings, high quartered shoes, and sword, we
should suppose it was painted about the year 1730, when street robberies
were so frequent in the metropolis, that it was customary for men in trade
to wear swords, not to preserve their religion and liberty from foreign
invasion, but to defend their own pockets from domestic collectors.  It
was etched by Sherwin, and published in 1775.






THE?POLITICIAN.
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HUDIBRAS.
PLATE I.
FRONTISPIECE.
"THE basso relievo on the pedestal, represents the general design of
Mr. Butler in his incomparable Poem of Hudibras, viz. Butler's Genius,
in a car, lashing around Mount Parnassus, in the persons of Hudibras and
Ralpho, Rebellion, Hypocrisy and Ignorance, the reigning vices of his
time."


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HIM




HUDIBRAS.


PLATE II.
THE MANNER HOW HE SALLIES FORTH.
"WHEN civil dudgeon first grew high,
And men fell out, they knew not why;
When Gospel-trumpeter, surrounded
With long-ear'd rout, to battle sounded;
And pulpit, drum ecclesiastic,
Was beat with fist instead of a stick;
Then did Sir Knight abandon dwelling,
And out he rode a colonelling.
A wight he was, whose very sight would
Entitle him mirror of knighthood,
That never bow'd his stubborn knee
To any thing but chivalry,
Nor put up blow, but that which laid
Knight worshipful on shoulder blade;
Chief of domestic knights and errant,
Either for chartel or for warrant;
Great on the bench, great in the saddle,
That could as well bind o'er as swaddle;
Mighty he was at both of these,
And stil'd of War, as well as Peace:
(So some rats, of amphibious nature,
Are either for the land or water)
But here our authors make a doubt
Whether he were more wise or stout:
Some hold the one, and some the other,
But, howsoe'er they make a pother,
The diff'rence was so small, his brain
Outweigh'd his rage but half a grain:
Which made some take him for a tool
That knaves do work with, call'd a fool.
N n2




HUDIBRAS.


" A Squire he had, whose name was Ralph,
That in th' adventure went his half,
An equal stock of wit and valour
He had laid in, by birth a tailor.
His knowledge was not far behind
The knight's, but of another kind,
And he another way came by 't:
Some call it Gifts, and some New light;
A lib'ral art, -that costs no pains
Of study, industry, or brains.
His wit was sent him for a token,
But in the carriage crack'd and broken.
He could deep mysteries unriddle,
As easily as thread a needle.
"Thus was th' accomplish'd Squire endu'd
With gifts and knowledge per'lous shrewd:
Never did trusty squire with knight,
Or knight with squire, e'er jump more right,
Their arms and equipage did fit,
As well as virtues, parts, and wit:
Their valours, too, were of a rate;
And out they sally'd at the gate.








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HUDIBRAS.


PLATE III.
HUDIBRAS'S FIRST ADVENTURE.
"MEANWHILE he stopp'd his willing steed,
To fit himself for martial deed:
Both kinds of metal he prepar'd,
Either to give blows or to ward;
Courage and steel, both of great force,
Prepar'd for better, or for worse.
His death-charg'd pistols he did fit well,
Drawn out from life-preserving vittle,
These being prim'd, with force he labour'd
To free's sword from retentive scabbard;
And after many a painful pluck,
From rusty durance he bail'd tuck:
Then shook himself, to see that prowess
In scabbard of his arms sat loose;
And, rais'd upon his desp'rate foot,
On stirrup-side he gaz'd about,
Portending blood, like blazing star,
The beacon of approaching war.
" I' th' head of all this warlike rabble,
Crowdero march'd expert and able.
Instead of trumpet and of drum,
That makes the warrior's stomach come,
A squeaking engine he apply'd
Unto his neck, on north-east side.
His grisly beard was long and thick,
With which he strung his fiddle-stick;
For he to horse-tail scorn'd to owe
For what on his own chin did grow.
He bravely vent'ring at a crown,
By chance of war was beaten down,




HUDIBRAS.


And wounded sore: his leg then broke,
Had got a deputy of oak.
" Next march'd brave Orsin, famous for
Wise conduct, and success in war;
A skilful leader, stout, severe,
Now Marshall to the champion Bear.
" The gallant Bruin march'd next him,
With visage formidably grim,
And rugged as a Saracen,
Or Turk of Mahomet's own kin.
" Talgol was of courage stout,
And vanquish'd oft'ner than he fought;
Inur'd to labour, sweat and toil,
And, like a champion, shone with oil.
" Next these the-brtve Magnano came,
Magnano, great in martial fame.
"He Trulla lov'd, Trulla, more bright
Than burnish'd armour of her knight;
A bold virago, stout and tall,
As Joan of France, or English Mall:
Through perils both of wind and limb,
Through thick and thin she follow'd him.
"The upright Cerdon next advanc't,
Of all his race the valiant'st.
" Last Colon came, bold man of war,
Destin'd to blows by fatal star;
These worthies were the chief that led
The combatants, each in the head
Of his command, with arms and rage
Ready, and longing to engage.
The num'rous rabble was drawn out
Of sev'ral counties round about,
From villages remote, and shires,
Of east and western hemispheres.
And now the field of death, the lists,
Were enter'd by antagonists,
And blood was ready to be broach'd,
When Hudibras in haste approach'd,
'With Squire and weapons to attack 'em;
But first from his horse bespake 'em.








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HUDIBRAS.


PLATE IV.
THE MASQUERADE ADVENTURE.
" SOON as they had him at their mercy,
They put him to the cudgel fiercely,
As if they 'ad scorn'd to trade or barter,
By giving or by taking quarter:
They stoutly on his quarters laid,
Until his scouts came in t' his aid;
For when a man is past his sense,
There's no way to reduce him thence,
But twinging him by th' ears or nose,
Or laying on of heavy blows,
And if that will not do the deed;
To burning with hot irons proceed.
No sooner was he comet' himself,
But on his neck a sturdy elf
Clapp'd, in a trice, his cloven hoof,
And thus attack'd him with reproof:
"Mortal, thou art betray'4 to us
B' our friend, thy evil genius,
Who for thy horrid perjuries,
Thy breach of faith, and'turning lies,
The Brethren's privilege (against
The wicked) on themselves, the Saints
Has here thy wretched carcass sent,
For just revenge and punishment,
Which thou hast now no way to lessen,
But by an open, free confession;
For if we catch thee failing once,
'Twill fall the heavier on thy bones.
" The Queen of Night, whose large command
Rules all the sea, and half the land,




HUDIBRAS.
And over moist and crazy brains,
In high springtides, at midnight reigns,
Was now declining to the west,
To go to bed and take her rest;
When Hudibras, whose stubborn blows
Deny'd his bones that soft repose,
Lay still expecting worse and more,
Stretch'd out at length upon the floor;
And though he shut his eyes as fast
As if he 'ad been to sleep his last,
Saw all the shapes. that fear or wizards,
To make the devil wear for vizards,
And pricking up his ears, to heark
If he could hear, too, in the dark,
Was first invaded with a groan,
And after in a feeble tone,
These trembling words: Unhappy wretch,
What hast thou gotten by this fetch,
Or thy tricks, in this new trade,
Thy holy Brotherhood o' th' blade?
By saunt'ring still on some adventure,
And growing to thy horse a Centaur?
To stuff thy skin with swelling knobs
Of cruel and hard-wooded drubs?
For still thou 'ast had the worst on 't yet,
As well in conquest as defeat.
Night is the Sabbath of mankind,
To rest the body and the mind,
Which now thou art deny'd to keep,
And cure thy labour'd corps with sleep.










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HUDIBRAS.


PLATE V.,
THE KNIGHT SUBMITS TO TRULLA.
"THIS said, the Knight did straight submit,
And laid his weapons at her feet.
Next he disrob'd his gabardine,
And with it did himself resign.
She took it, and forthwith divesting
The mantle that she wore, said jesting,
Take that, and wear it for my sake;
Then threw it o'er his sturdy back.
And as the French, we conquer'd once,
Now give us laws for pantaloons,
The length of breeches, and the gathers
Port-cannons, periwigs and feathers;
Just so the proud insulting lass
Array'd and dighted Hudibras.
Meanwhile the other champions, yerst
In hurry of the fight disperst,
Arriv'd, when Trulla won the day,
To share i' th' honour and the prey,
And out of Hudibras his hide,
With vengeance to be satisfy'd;
Which now they were about to pour
Upon him in a wooden shower,
But Trulla thrust herself between,
And striding o'er his back agen,
She brandish'd o'er her head his sword,
And vow'd they should not break her word;
She 'ad given him in quarter, and her blood,
Or theirs, should make that quarter good:
For she was bound, by law of arms,
To see him safe from further harms.
0 o




HUDIBRAS.


In dungeon deep, Crowdero, cast
By Hudibras, as yet lay fast,
Where to the hard and ruthless stones,
His great heart made perpetual moans;
Him she resolv'd that Hudibras
Should ransom, and supply his place.
Thus stopp'd their fury, and the basting
Which towards Hudibras was hasting,
They thought it was but just and right
That what she had achiev'd in fight
She should dispose of how she pleas'd;
Crowdero ought to be releas'd:
Nor could that any way be done
So well as this she pitch'd upon:
For who a better could imagine?
This therefore they resolv'd t' engage in.








HiUDIBRAS.


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HUDIBRAS.


PLATE VI.
SIR HUDIBRAS AND RALPHO IN THE STOCKS.
"THIS tattling gossip knew too well
What mischief Hudibras befel,
And straight the spiteful tidings bears
Of all, to the unkind Widow's ears.
Democritus ne'er laugh'd so loud,
To see bawds carted through the crowd,
Or funerals, with stately pomp,
March slowly or in solemn dump,
As she laugh'd out, until her back,
As well as sides, was like to crack.
She vow'd she would go see the sight,
And visit the distress'd knight;
To do the office of a neighbour,
And be a gossip at his labour;
And from his wooden jail the stocks,
To set at large his fetter-locks;
And by exchange, parole, or ransom,
To free him from th' enchanted mansion.
This b'ing resolv'd, she call'd for hood
And usher, implements abroad
Which ladies wear, beside a slender
Young waiting damsel to attend her,
All which appearing, on she went
To find the Knight, in limbo pent:
And 'twas not long before she found
Him and his stout Squire in the pound;
Both coupled in enchanted tether,
By further leg behind together:
For as he sat upon his rump,
His head, like one in doleful dump,
oo 2




HUDIBRAS.


Between his knees, his hands apply'd
Unto his ears on either side,
And by him, in another hole,
Afflicted Ralpho, cheek by joul,
She came upon him in his wooden
Magician's circle, on the sudden,
As spirits do t' a conjurer,
When in their dreadful shapes th' appear.
No sooner did the Knight perceive her,
But straight he fell into a fever,
Inflam'd all over with disgrace,
To be seen by her in such place;
Which made him hang his head, and scoul,
And wink, and goggle like an owl;
He felt his brains begin to swim,
When the Dame accosted him.








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HUDIBRAS.


PLATE VII.
HUDIBRAS AND THE LAWYER.
"TO this brave man the Knight repairs
For counsel in his law-affairs,
And found him mounted, in his pew,
With books and money plac'd for shew.
Like nest-eggs to make clients lay,
And for his false opinion pay;
To whom the Knight, with comely grace,
Put off his hat, to put his case;
Which he as proudly entertain'd
As th' other courteously strain'd;
And, to assure him 't was not that
He look'd for, bid him put on 's hat.
" Quoth he, There is one Sydrophel
Whom I have cudgell'd-Very well,
And now he brags to 've beaten meBetter, and better still, quoth he;
And vows to stick me to a wall,
Where'er he meets me-Best of all.
'Tis true the knave has taken 's oath
That I robb'd him-Well done, in troth.
When he's confess'd he stole my cloak,
And pick'd my.fob, andwhat he took;
Which was the cause that made me bang him,
And take my goods again-Marry, hang him.
Now, Whether I should before hand,
Swear he robb'd me?-I understand.
Or bring my action of conversion
And trover for my goods -Ah, whoreson.
Or, if 'tis better to endite,
And bring him to his trial?-Right.




HUDIBRAS.


Prevent what he designs to do,
And swear for th' state against him?-True.
Or, whether he that is defendant,
In this case, has the better end on 't;
Who, putting in a new cross-bill,
May traverse the action?-Better still.
Then there's a lady too.-Aye, marry.
That's easily prov'd accessary;
A widow, who, by solemn vows
Contracted to me, for my spouse,
Combin'd with him to break her word;
And has abetted all —Good Lord!
Suborn'd th' aforesaid Sidrophel
To tamper with the dev'l of hell,
Who put m' into a horrid fear,
Fear of my life-Make that appear.
Made an assault with fiends and men
Upon my body-Good agen.
And kept me in a deadly fright,
And false imprisonment, all night.
Mean-while they robb'd me, and my horse,
And stole my.saddle-Worse and worse. —
And made me mount upon the bare ridge,
T' avoid a wretcheder miscarriage.
" Sir, (quoth the lawyer) not to flatter ye,
You have as good and fair a battery
As heart can wish, and need not shame
The proudest man alive to claim:
For if they've us'd you as you say,
Marry, quoth I, God give you joy;
I wou'd it were my case, I'd give
More than I'll say, or you'll believe,
I wou'd so trounce her, and her purse,
I'd make her kneel for better or worse:
For matrimony, and hanging here,
Both go by destiny so clear.










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HUDIBRAS.


PLATE VIII.
HUDIBRAS BEATS SIDROPHEL AND HIS MAN WHACHUM.
QUOTH he, This scheme of th' heavens set,
Discovers how in fight you met,
At Kingston, with-a May-pole idol,
And that y' were bang'd both back and side well,
And though you overcame the Bear,
The Dogs beat you at Brentford fair;
Where sturdy butchers broke your noddle,
And handled you like a fop doodle.
c Quoth Hudibras, I now perceive
You are no conj'rer, 'by your leave;
That paltry story is untrue,
And forg'd to cheat such gulls as you.
"Not true! quoth he; Howe'er you vapour,
I can what I affirm make appear;
Whachum shall justify it t' your face,
And prove he was upon the place:
He play'd the saltinbancho's part,
Transform'd t' a Frenchman by my art;
He stole your cloak, and pick'd your pocket,
Chows'd and caldes'd ye like a blockhead,
And what you lost I can produce,
If you deny it here i' th' house.
" Quoth iludibras, I do believe
That argument's demonstrative;.Ralpho, bear witness, and go fetch us
A constable to seize the wretches;
For though they're both false knaves and cheats,
Impostors, jugglers, counterfeits,
I'll make them serve for perpendiC'lars
As true as e'er were us'd by bricklayers.




HUDIBRAS.


They're guilty, by their own confessions,
Of felony, and at the Sessions,
Upon the bench, I will so handle 'em,
That the vibration of this pendulum
Shall make all tailors' yards of one
Unanimous opinion;
A thing he long has vapour'd of,
But now shall make it out by proof.
"'Quoth Sidrophel, I do not doubt
To find friends that will bear me 9ut;
Nor have I hazarded my art,
And neck, so long on the State's part,
To be expos'd, i' th' end, to suffer
By:such a braggadocio huffer.
"Huffer, quoth Hudibras, this sword,
Shall down thy false throat cram that word,
Ralpho, make haste, and call an officer,
To apprehend this Stygian sophister;
Mean-while I'll hold 'em at a bay,
Lest he and Whachum run away.








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HUDIBRAS.


PLATE IX.
THE COMMITTEE.
"THE quacks of government, (who sate
At th' unregarded helm of state,
And understood this wild confusion
Of fatal madness and delusion,
Must, sooner than a prodigy,
Portend destruction to be nigh)
Consider'd timely how t' withdraw
And save their wind-pipes from the law;
For one rencounter at the bar
Was worse than all they 'ad 'scap'd in war;
And therefore met in consultation
To cant and quack upon the nation;
Not for the sickly patient's sake,
Nor what to give, but what to take;
To feel the purses of their fees,
More wise than fumbling arteries;
Prolong the snuff of life in pain,
And from the grave recover-gain.
"'Mong these there was a politician
With more heads than a beast in vision,
And more intrigues in ev'ry one
Than all the Whores of Babylon;
So politic, as if one eye
Upon the other were a spy,
That, to trepan the one to think
The other blind, both strove to blink;
And in his dark pragmatic way
As busy as a child at play.
" To match this Saint, there was another,
As busy and perverse a Brother,
P




HUDIBRAS.
An haberdasher of small wares
In politics and state affairs.
" Thus far the statesman-When a shout,
Heard at a distance, put him out;
And strait another, all agast,
Rush'd in with equal fear and haste,
Who stard about, as pale as death,
And, for a while, as out of breath,
Till, having gather'd up his wits,
He thus began his tale by fits.








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HUDIBRAS.


PLATE X.
HUDIBRAS LEADING CROWDERO IN TRIUMPH.
"THIS said, the high outrageous mettle
Of Knght began to cool and settle.
He lik'd the Squire's advice, and soon
Resolv'd to see the bus'ness done;
And therefore charg'd him first to bind
Crowdero's hands on rump behind,
And to its former place and.use
The wooden member to reduce,
But force it take an oath before,
Ne'er to bear arms against him more.
" Ralpho dispatched with speedy haste,
And having ty'd Crowdero fast,
He gave Sir Knight the end of cord,
To lead the captive of his sword
In triumph, whilst the steeds he caught,
And them to further service brought.
The squire, in state rode on before,
And on his nut-brown whinyard bore
The trophy fiddle and the case,
Leaning on shoulder like a mace.
The Knight himself did after ride,
Leading Crowdero by his side;
And tow'd him, if he lagg'd behind,
Like boat, against the tide and wind.
Thus grave and solemn they march'd on,
Until quite through the town they'd gone;
At furthest end of which there stands
An ancient castle, that commands
Th' adjacent parts; in all the fabric
You shall not see one stone nor a brick,
Pp2




HUDIBRAS.


But all of wood, by pow'rful spell
Of magic made impregnable:
There's neither iron bar nor gate,
Portcullus, chain, nor bolt, nor grate,
And yet men durance there abide,
In dungeon scarce three inches wide;
With roof so low, that under it
They never stand, but lie or sit;
And yet so foul, that whoso is in,
Is to the middle-leg in prison;
In circle magical confin'd,
With wall of subtile air and wind,
Which none are able to break thorough,
Until they're freed by head of borough.
Thither arriv'd, th' advent'rous Knight
And bold Squire from their steeds alight
At th' outward wall, near which their stands
A Bastile, built t' imprison hands;
By strange enchantment made to fetter
The lesser parts, and free the greater:
For though the body may creep through,
The hands in grate are fast enough:
And when a circle 'bout the wrist
Is made by beadle exorcist,
The body feels the spur and switch
And if 'twere ridden post by witch,
At twenty miles an hour pace,
And yet ne'er stirs out of the place.
On top of this there is a spire,
On which Sir Knight first bids the Squire,
The fiddle, and its spoils, the case,
In manner of a trophy place.
That done, they ope, the trap-door gate,
And let Crowdero down thereat.








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HUDIBRAS.


PLATE XI.
THE BURNING OF THE RUMPS AT TEMPLE BAR.
"THAT beastly rabble-that came down
From all the garrets-in the Town,
And stalls, and shopboards-in vast swarms,
With new-chalk'd bills, and rusty arms,
To cry the Cause-up, heretofore,
And bawl the Bishops-out of door.
And new-drawn up-in greater shoals,
To roast-and broil us on the coals,
And all the Grandees-of our members
Are carbonading on the embres;
Knights, citizens, and burgessesHold forth by rumps-of pigs and geese,
That serve for characters-and badges;
To represent their personages;
Each bonfire is a funeral pile,
In which they roast, and scorch, and broil,
And ev'ry representative
Have vow'd to roast-and broil alive;
" And 'tis a miracle we are not
Already sacrific'd incarnate;
For while we wrangle here, and jar,
We're grilly'd all at Temple-bar;
Some, on the sign-post of an ale-house,
Hang in effigy, on the gallows,
Made up of rags to personate
Respective officers of state;
That, henceforth, they may stand reputed,
Proscrib'd in law, and executed,
And, while the Work is carrying on,
Be ready listed under Dun.




HUDIBRAS.


That worthy patriot, once the bellows,
And tinder-box, of all his fellows;
The activ'st member of the five,
As well as the most primitive;
Who, for his faithful service then,
Is chosen for a fifth agen:
(For since the State has made a quint
Of Generals, he's listed in't)
This worthy, as the world will say,
Is paid in specie his own way:
For, moulded to; the life, in clouts
Th' have pick'd from dunghills hereabouts,
He's mounted on a hazel bavin
A cropp'd malignant baker gave 'em;
And to the largest bonfire riding,
They've roasted Cook already, and Pride in;
On whom, in equipage and state,
His scarcecrow fellow-members wait,
And march in order, two and two,
As at thanksgiving th' us'd to do,
Each in a tatter'd talisman,
Like vermine in effigy slain.








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HUDIBRAS.


PLATE XII.
HUDIBRAS ENCOUNTERS THE SKIMMINGTON.
" THIS said they both advanc'd and rode,
A dog-trot through the bawling crowd,
T' attack the leader and still prest;
Till they approach'd him breast to breast:
Then Hudibras with face and hand
Made signs for silence; which obtain'd,
What means (quoth he) this devils procession
With men of Orthodox profession.
Are things of superstitious function
Fit to be us'd in gospel sun-shine.
It is an Antichristian Opera,
Much us'd in midnight times of popery:
Of running after self-inventions
Of wicked and prophane intentions;
To scandalize that sex for scolding,
To whom the saints are so beholden.
Women, that left no stone unturn'd,
In which the cause might be concern'd,
Brought in their children's spoons and whistles,
To purchase swords, carbines, and pistols;
Drew sev'ral gifted brethren in,
That for the bishops would have been,
Rubb'd down the teachers tir'd and spent,
With holding forth for Parl'ament;
Pamper'd and edify'd their zeal
With marrow puddings, many a meal;
And cramm'd 'em till their guts did ake;
With cawdle, custard, and plumb-cake,
What have they done, or what left undone,
That might advance the cause at London.




HUDIBRAS.
Hay they?-At that an egg let flyHit him directly o'er the eye,
And running down his cheek, besmear'd
With orange tawny-slime his beard;
And straight another with his flambeaux,
Gave Ralpho o'er the eyes a damn'd blow."








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LARGE MASQUERADE TICKET.


A. A SACRIFICE to Priapus. B. a pair of Lecherometers, shewing
the company's inclinations as they approach 'em. Invented for the use of
Ladies and Gentlemen, by the ingenious H -  r [Heidegger].
The attentive observer will find, that Hogarth has transplanted several
circumstances from hence into the first plate to the " Analysis of Beauty,"
as well as into his Satire on the Methodists. See ornaments of an Altar
composed of a concatenation of different periwigs, and the barometers
expressing the different degrees of animal heat. At the corners of the dial
on the top of this print is the date of the year (1727), and the face of
Heidegger appears under the figure XII. In the earliest impressions, the
word " Provocatives" has, instead of V, the open vowel U. This incorrectness in spelling was afterwards amended, though in a bungling manner, the
round bottoms of the original letters being still visible.


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A MUSICAL STUDY.


THIS print represents Handel at the harpsichord, &c.; with portraits
of Farinelli, Mrs. Fox Lane, and a family of distinction in Cheshire. From
the original, in the possession of Mr. Nichols.


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IMPlIRESSION~ FROM A. SILVER TANr~KARD.


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IMPRESSION FROM A TANKARD.
THIS print represents an impression from a tankard belonging to a
Club of Artists, who met weekly at The Bull's Head in Clare Market. Of
this Society Hogarth was a member. A shepherd and his flock are here
represented.
Mr. Ireland, in speaking of this print, observes, " A few impressions
from this tankard have been fortunately preserved: I say fortunately, for
I esteem the whole of this production as worthy the refined taste of the
present day; nor do we find in it "any trace of the vulgarisms so often
imputed to Hogarth. The allegorical figures of Painting and Sculpture
are well drawn, and as happily disposed. The landscape in the oval I
judge to be the story of Laban and his sheep. It went also by the name
of Jacob's Well; and is said to have been in allusion to the sign of the house
where the Club was held; but to this we give no credit, as it was certainly
known by the sign of The Spiller's Head. The ornaments that are introduced,
are selected with taste; nor is it too much encumbered: and there is a
simplicity and elegance in the ensemble, that does great credit to the taste
and talents of our artist.
" From this specimen we have fair ground to infer, that he was not
deficient in those refinements in the art, which so justly captivate and
engage the nicer eye of the Connoisseur. However alluring this style of
design and execution may have been, he seems to have produced few
works in this manner. These could not enchain the talent of Hogarth; he
had a nobler pursuit, the study of human nature; and the hydra-headed
monster of follies and vices that is too frequently attendant on her train.




IMPRESSION FROM A TANKARD.
These became the just objects of the talent he so happily possessed; and in
that pursuit he stands unrivalled; and will, in all probability, hold his
deserved pre-eminence.. Study and observation may create a host of
laborious and high-finishing artists; yet it is nature alone that can produce
the mind of an Hogarth."














THE MAN OF TASTE.


THIS print exhibits the Gate of Burlington-House. Pope whitewashing it, and bespattering the Duke of Chandos's Coach. " A Satire on
Pope's Epistle on Taste. No Name." It has been already observed that the
plate was suppressed; and if this be true, the suppression may be accounted
for from the following inscription, lately met with at the back of one of
the copies.
" Bot this book of Mr. Wayte, at The Fountain Tavern, in The Strand,
in the presence of Mr. Draper, who told me he had it of the Printer,
Mr. W. Rayner.
J. COSINS."
On this attested memorandum a prosecution seems meant to have been
founded. Cosins was an Attorney, and Pope was desirous on all occasions,
to make the Law the engine of his revenge.














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BEAVER'S MILITARY PUNISHMENTS.
FIFTEEN head-pieces for " The Roman Military Punishments, by
John Beaver, Esq. London. From the happy Revolution, Anno" xxxvII."
From the preface it should seem that the author had been Judge
Advocate. Of him, however, we know little farther than is to be collected
from his preface, from which, as we likewise gather the nature and intention
of the work, we shall select the following passage:  The nature of the
employment in which I have the honour to serve his Majesty, necessarily
engaged me to be acquainted with this subject. And though the modern
punishments used in armies fell more immediately under my consideration,
after I had finished my enquiries and observations upon them, the work
seemed imperfect till I had looked back into antiquity, and seen what
punishments were in use in those remote times, when military discipline is
thought to have been in the highest degree of perfection."


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FRONTISPIECE TO TERRZE FILIUS.
THE work to which this print formed a frontispiece, was printed in
two volumes 12mo. at Oxford, and is a satire on the Tory principles of
that University. It was written by Nicholas Amherst, author of " The
Craftsman," and was originally published in one volume.
As the book does not abound in subjects for the pencil, Hogarth has
selected a scene described in No. 19, May 8, 1721, which contains advice
to all Gentlemen School-boys, &c. who are designed for the University
of Oxford.


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FRONTISPIECE TO TRISTRAM SHANDY.
THIS Frontispiece to Tristram Shandy was originally engraved by
S. Ravenet. In it is the portrait of Dr. Burton, of York, the Jacobite
Physician and Antiquary, in the character of Dr. Slop. Of this plate
there are two copies; in the first of which the hat and clock are omitted.












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MR. PINE.
THIS portrait of Mr. Pine, the celebrated engraver, in the manner of
Rembrandt, by M'Ardell, in mezzotinto, appeared about the year 1746.
The original was in the possession of the late Mr. Ranby the Surgeon.
There is a second head of Mr. Pine, a mezzotinto; both his hands
leaning on a cane. Printed for George Pulley, at Rembrandt's Head, the
corner of Bride-court, Fleet-street.
"I have called this a second head," says Mr. Nichols," but know not
which of the two was first published."












FON AN 0RIGINAL SEJTCII COM~MUINICATED BY  SS"-' 0 YEELL.


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ORIGINAL SKETCH.
THIS original sketch of a Night Scene, was politely communicated
for insertion in this work by Messrs. Boydell, whose generous patronage
of the Fine Arts is too well known to need our eulogium, but whose liberality it would be injustice not here to acknowledge.


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FINIS; OR, THE TAIL-PIECE.
AS many of Hogarth's admirers were desirous of having his works
bound up together, considering them as much, if not more worthy of study
than many books that are extant; he thought it necessary, in order to
complete the whole, and preserve that consistency he had 'been ever
observant of, to add some print byway of tail-piece, in contrast to the
customary frontispiece of the generality of publications. What then should
this be? Something allusive to The End.-In the following plate, then, he
gives us a collection of such things as bear, indeed,' some affinity to the
Latin word Finis, which we meet with in the last leaf of every book; but,
that it may not be totally barren of design and humour, takes this opportunity of ridiculing the many glaring absurdities that are often seen in old
celebrated pictures of serious cast, (owing to the ignorance of their painters,
in introducing low, obscene, and, frequently, profane'matter into them) by
mixing here the mean with the sublime, and the trifling with that of much
importance.  Analagous, therefore, to Swift's Art of Sinking in Poetry,
he calls it the Bathos, or Manner of Sinking in Sublime Paintings; and
inscribes the plate to the dealers in dark pictures.
As there is no great connection among the variety of objects we
observe in this print, excepting a conformity with the end, we shall not
confine ourselves to any order, but mention the various matter as it occurs.
On one side, then, we see a ruinous tower, having in front a decayed
clock, or time-piece; contiguous to that, a grave-stone, and nearer to us,
the remains of a column, against which lies the figure of Time, in the
utmost agony, breathing out his last. The emblems with which he is
customarily painted, viz. his scythe and hour-glass, lie broken beside him.
In one of his hands is a fractured pipe; in the other a roll of parchment,
containing his will, in which he has bequeathed all and every atom of this
world to blank Chaos, whom he has appointed his sole executrix. This




FINIS; OR, THE TAIL-PIECE.
will is sealed and witnessed by the three sister fates, Clotho, Lachesis, and
Atrapos. Beneath this will lies a shoe-maker's last, and a cobler's end.
On the left of these is an empty ragged purse, a commission of bankruptcy,
with the seal affixed, supposed to be taken out against poor Nature, and a
play-book, opened at the close of the last act, where exeunt omnes stands
stands forth to view. In the middle is the remnant of a bow and quiver, a
crown destroyed, and a worn-out scrubbing brush. On the other side of
this plate is a withered tree, a decayed cottage, and a falling sign of The
World's End, described by the terrestrial globe bursting out in flames.
At the foot of this post is our artist's print of the. Times, set on fire by little
better than a snuff of burning candle.  Near this lies a cracked bell, a
broken bottle, a piece of old rope, or a rope's end, -a besom worn to the
stump, the stock of a musket, a whip lashed away to the handle, a capital
of the Ionic order,. and a fractured painter's palette. At some distance is
seen a man hanging in chains, and a ship foundering at sea; and to complete
the whole, in the firmament above is the moon, darkened by the death of
sol, who, with his lifeless coursers, lies stretched upon a cloud, his chariot
wheels broken, and his source of light extinguished.
Thus, however jumbled together the objects in this plate may be, with
a design of exposing the absurdities of some ancient paintings; they serve
to put us in mind that life is little better than a jumble of incidents, that
the end of all things approaches, and that a day will sooner or later come,
when time itself shall be no more.
F I N I S.
FINIS.
Plummer and Brewis, Printersy
Love Lane, Eastcheap.